ANNOUNCEMENTS Details on the upcoming member meeting Tuesday, Aug. 13, on Zoom, and also in person at Local 257. The hybrid meeting will include reports from the president and secretary-treasurer and other important information.
STATE OF THE LOCAL Dave Pomeroy updates membership on the latest efforts to protect musicians and their intellectual property, and other topics of interest. 7
BETWEEN THE NOTES Secretary-Treasurer Will Barrow talks about attending the 2024 Southern Conference of AFM Locals, and union solidarity.
NEWS Updates on AFM participation in the recent legislative hearings and good news for the AFM-EP fund.
HEARD ON THE GRAPEVINE
The comings and goings of Local 257 members. 12 GALLERY We recognize member milestones as well as other events and honors. 16 COVER STORY: JIMMY CHURCH Warren Denney talks to Nashville legend Jimmy Church about his amazing career and his journey from Jefferson Street to Los Angeles and— lucky for Music City — home again to Tennessee, where he’s still making music. He’s an integral part of the vast musical story of Nashville, which stretches far beyond — and before — the country music scene took root here. 22 REVIEWS Chris McDonald with a new big band foray that hits it out of the park, and a priceless new collection of previously unreleased Johnny Cash music — we review both of these amazing projects.
RECORDING
Scales have gone up! All the details on the new rates. 26 SYMPHONY NOTES Symphony steward Mindy Whitley with an update on the successful NSO negotiations completed in July.
JAZZ & BLUES Austin Bealmear offers an update on local jazz and blues. 28 FINAL NOTES We bid farewell to Gary Burnette, Ronald Elliott, Patricia Gunter, Russell Hicks, Ronny Hughes, William Osment, Arthur Rich, and Alice Lee Schreiber.
RANDY TRAVIS AND DAVE POMEROY
JIMMY CHURCH
CHRIS MCDONALD JAZZ ORCHESTRA
PUBLISHER
EDITOR
MANAGING EDITOR
ASSISTANT EDITOR
CONTRIBUTING WRITERS
CONTRIBUTING PHOTOGRAPHERS
Dave Pomeroy
Will Barrow
Kathy Osborne
Leslie Barr
Austin Bealmear
Warren Denney
Melinda Whitley
Roy Montana
Kathy Osborne
Dave Pomeroy
Mickey Dobo
Kris Freeman
Donn Jones
Dave Pomeroy
Lisa Dunn Design
Kathy Osborne
Leslie Barr 615-244-9514
Dave Pomeroy
SECRETARY-TREASURER
EXECUTIVE BOARD
Will Barrow
Jerry Kimbrough
Alison Prestwood
Biff Watson
Laura Ross
Rich Eckhardt
Tom Wild
Jonathan Yudkin
EXECUTIVE BOARD ALTERNATES
HEARING BOARD
Paul Ossola
Casey Brefka
Michele Voan Capps
Tiger Fitzhugh
Teresa Hargrove
Kent Goodson
Sarah Martin McConnell
Dave Moody
Ellen Angelico
TRUSTEES
SERGEANT AT ARMS
NASHVILLE SYMPHONY STEWARD
OFFICE MANAGER
Bruce Radek Biff Watson
Steve Tveit
Melinda Whitley
Savannah Ritchie
Billy Lynn
RECORDING/ELECTRONIC MEDIA
Paige Conners
William Sansbury
Cassandra Tormes
Alona Meek
DIRECTOR, LIVE/TOURING DEPT. AND MPTF COORDINATOR
MEMBERSHIP
Leslie Barr
Michael Minton
Brittany Evers
The next Local 257 General Membership Meeting is scheduled for Tuesday, Aug. 13, 2024, on Zoom and at the local. Doors will open at 5:30 p.m. and the meeting will start promptly at 6 p.m. Please attend and get involved in the business of your local.
Nashville Musicians Association
AFM Local 257, AFL-CIO
Minutes of the Executive Board Zoom Meeting
March 28, 2024
PRESENT: Will Barrow (WB), Dave Pomeroy (DP), Jonathan Yudkin (JY), Alison Prestwood (AP), Biff Watson (BW), Jerry Kimbrough (JK), Rich Eckhardt (RE), Laura Ross (LR), Tom Wild (TW), Paul Ossola (PO) (alt)
ABSENT: Casey Brefka
President Pomeroy called the meeting to order at 9:06 a.m.
AGENDA:
1. The ERF committee is down to three members, and we are proposing to add two alternates.
2. The bylaws need to be changed.
a) remove language requiring regular actuarial studies on the Funeral Benefit Fund
b) add some new parameters and procedures during elections
c) add two alternates to the Emergency Relief Fund committee
3. 175 members will be expelled on April 1 if they remain on the suspended list.
4. We are in discussions with American Income Life, who are seeking to renew their relationship with us and offer benefits to our members such as free accidental death life insurance.
5. The Elvis Act has been signed by the Tennessee state legislature, but it doesn’t include language beneficial to musicians. It will be corrected when it is amended next January.
6. Single song overdubs on AFM contracts are increasing.
DISCUSSION:
On the ERF, AP proposed that we add two nonvoting alternates.
AMBA will offer instrument insurance for our members in the near future, through a new underwriter.
LR requested that the executive board receive more detailed financial reports at the executive board meetings.
MSC to adjourn. RE, BW. Meeting adjourned at 10:24 a.m.
Tuesday, Aug. 13, 2024 Doors open 5:30 p.m. 6:00 p.m. on Zoom and in person at Local 257
Nashville Musicians Association
AFM Local 257, AFL-CIO
Minutes of the Executive Board Zoom Meeting
April 19, 2024
PRESENT: Will Barrow (WB), Dave Pomeroy (DP), Jonathan Yudkin (JY), Biff Watson (BW), Rich Eckhardt (RE), Laura Ross (LR), Tom Wild (TW), Paul Ossola (PO)
ABSENT: Casey Brefka, Jerry Kimbrough, Alison Prestwood
Dave Pomeroy called the meeting to order at 8:40 a.m.
AGENDA:
Changes to bylaws:
1. Emergency Relief Board will be changed from seven to five members, three voting members and two alternates.
2. Funeral Benefit Fund: Delete ERISA language and delete actuarial language.
NEW DEMO AND LIMITED PRESSING SCALES:
1. Added language with a streaming threshold for payment upgrade
2. Demo scale increase for single and multiple employer sessions
3. Added language about dividing cartage among multiple employers
DISCUSSION:
LR suggested that we should add language on the ERF requiring EB approval and oversight by the president and secretarytreasurer.
BW proposed coming up with a separate multiple employer contract.
MSC to adjourn. RE, BW. Meeting adjourned at 9:58 a.m.
Nashville Musicians Association
AFM Local 257, AFL-CIO
Minutes of the 1st Quarter Hybrid Zoom/Live Membership Meeting
May 28, 2024
PRESENT: Tom Shed, Regina McCrary, Chris Carmichael, John Mattick, Luis Espaillat, Geoff Cox, Sunny Dada, Joe Farris, Jeff Steinberg, Nell Levin, Tom Van Schalk, Tracey K. Houston, John Donahoe, Steve Leslie, John Fox, Vince Barranco, Dave Martin, Mike Rinne, Guillermo Guzman, Devin Malone, Roseanne McGowan, Geoffrey Clemons
EXECUTIVE BOARD PRESENT: Biff Watson, Rich Eckhardt, Tom Wild, Jerry Kimbrough, Paul Ossola, Jonathan Yudkin
ABSENT: Alison Prestwood, Laura Ross, Casey Brefka
HEARING BOARD PRESENT: Kent Goodson, Sarah Martin McConnell, Ellen Angelico, Teresa Hargrove
ABSENT: Tiger Fitzhugh, Dave Moody, Michelle Capps
TRUSTEES: Bruce Radek, Biff Watson
PARLIAMENTARIAN: Bill Wiggins
SERGEANT AT ARMS: Steve Tveit
OFFICERS PRESENT: Dave Pomeroy (DP), Will Barrow (WB)
President Pomeroy called meeting to order at 5:40 p.m.
PRESIDENT’S REPORT:
1. We need to get more touring musicians to become members. In many of these bands, some are members and others are not.
2. We continue to be owed large sums of unpaid work dues by members and nonmembers.
3. Negotiations with management of the Nashville Symphony for a wage increase are in the early stages.
4. We now have 13 garages with a discount for members, using the QR code available at the office.
5. We are working on problems with payments by NBC to our members, and it is going to arbitration.
SECRETARY-TREASURER’S REPORT:
1. Building improvements: New security lights and cameras in the rear of the building
Rehearsal Hall improvements: installed hooks for cords, a larger mixing board and some new mics
Please return music stands if you’ve borrowed them-we are missing many!
2. We are working with audiologist Jason Baker to offer services for members at a discounted rate, and are in conversations with another audiologist company as well, in search of the best prices for our members.
3. Member Committees are being established including; Health and Hearing, Building and Rehearsal Hall, New Member Recruitment and Orientation, with more to come. We welcome your feedback and participation.
AGENDA:
Changes to AFM 257 by laws;
1. Emergency Relief Fund Committee: Proposal for a change from the current seven to three voting members, plus two alternates, who won’t vote unless needed. Discussion and MSC.
2. Funeral Benefit Fund: Proposal to get rid of actuarial language in Section 7, and to delete section 8. Discussion and MSC.
New Proposed Demo and Limited Pressing rates, and details of increased rates. Discussion and MSC.
New rates for Multiple Employer Demos and details of new rates. Discussion and MSC. All changes were approved unanimously.
MSC to adjourn
Meeting adjourned at 7:10 pm
Nashville Musicians Association
AFM Local 257, AFL-CIO Executive Board Zoom Meeting Minutes for July 7, 2024
PRESENT: Will Barrow (WB), Dave Pomeroy (DP), Jonathan Yudkin (JY), Biff Watson (BW), Rich Eckhardt (RE), Laura Ross (LR), Tom Wild (TW), Paul Ossola (PO)
ABSENT: Jerry Kimbrough, Alison Prestwood, Casey Brefka
Dave Pomeroy called the meeting to order at 9:37 a.m.
AGENDA:
Approval of AFM 257 contributions to:
1. Leadership Music-MSC
2. Chamber of Commerce-MSC
DISCUSSION:
All suggested we should stay in the loop with the COC.
JY AND DP discussed the positive attributes of AFM involvement with Leadership Music.
MSC to adjourn. RE, BW. Meeting adjourned at 10:23 a.m.
BY DAVE POMEROY
It’s been a busy few months since my last column, that’s for sure! There is so much going on in so many areas of our music community, and the entertainment industry as a whole, that it can be a bit of blur at times. I have learned that when there are a number of different processes going on simultaneously, it is important to keep your focus on the job immediately in front you and avoid distractions as much as possible, while making sure that you are not missing anything in the big picture either. It can be a challenge, but I’m grateful for the opportunity to serve our amazing musician community.
Onthe national level, we are heading into AFM TV/Videotape negotiations with the major networks, after a oneyear extension was recently ratified by those who work under this agreement. This contract covers touring bands who play daytime and late night TV shows, Saturday Night Live and the late night talk show house bands, major network televised sports and holiday events, and more. We are in the process of engaging AFM musicians around the country who work under this contract in the negotiation process, beginning with a survey of priorities. Thanks in advance to any 257 members who participate in this collective effort to improve this contract — you can make a difference.
Our new Demo, Limited Pressing, and Multiple Employer Demo scales are now in effect. The new numbers are on the website and on page 24 of this magazine as well. These raises are long overdue and are still very reasonable rates for songwriters and indie artists to pay our excellent recording musicians. These days, anything can blow up and become a hit, and when it’s on an AFM contract, you are protected. Without it, you are not. It’s that simple. Your work dues payments go to help keep all this moving forward, and we appreciate you
Good news for working musicians on multiple fronts
keeping up with your work dues balance — it really helps us keep the lights on. Our recording department works hard to keep everything flowing, so that you can get paid what you deserve and not have to wait too long to receive it. If needed, we can explain to employers how our contracts protect them as well as the musicians.
In May, we began negotiations with the Nashville Symphony. After many meetings, discussions, and exchanges of proposals, we were able to reach a one-year agreement by the end of June for the coming season, with a decent cost of living wage increase and several workplace improvements. For more information, please read the Symphony Notes on page 26. Negotiations are never easy and this was no exception, but we did well considering the circumstances, and will be back at the table next year. We will have our work cut out for us next time, and will need to enlist the Nashville community’s support between now and then to gain momentum to achieve our longterm goals. Thanks to our attorney Kevin Case, and all the musicians on the negotiation committee for their time, dedication and hard work.
The last half of June was a whirlwind. I flew to Texas for the AFM Southern Conference of Locals annual meeting, hosted by Austin’s Local 433. It was an informative and inspiring gathering, with a lot of new local officers in attendance. There were speeches, workshops, and multiple opportunities to interact with our fellow union officers and compare notes, trade insights and ideas that we all have in common. I flew home for 48 hours, then on June 26 I flew to Washington D.C. and back to represent the AFM at a House Judiciary Committee hearing on the American Music Fairness Act. If passed, the AMFA would fix a 100year injustice to artists, singers, and mu -
sicians who play on recordings broadcast on terrestrial AM/FM radio.
AFM 257 member Randy Travis’s wife Mary testified on his behalf, and she did a great job articulating the financial compromises this imposes on artists and musicians, as did Sound Exchange CEO Mike Huppe. Rep. Darrell Issa did a great job of running the hearing and poked numerous holes in the shallow arguments of the radio industry spokespersons. It’s time to pass this bipartisan legislation and free up hundreds of millions in overseas royalties. Immediately afterwards, the Congressional Musicians Caucus hosted a reception with the Travises, sponsors and supporters of the bill, congressional staffers, and others in attendance. I was asked to say a few words and perform a song I wrote in support of the AMFA called “Respect the Band,” which got a good response from those in attendance. I had many good conversations with those who are working in support of our long running effort to pass this law.
The next day, in my role as AFM International VP, I flew to Montreal for the Canadian AFM Locals’ annual gathering. Being a twocountry labor union has its challenges, but it is definitely more than worth the effort, and despite our governmental differences, we have much more in common. For many years, Nashville has had a very good relationship with the Canadian AFM office with lots of interaction on work permits, immigration and travel issues, and more. The latest example is the Montreal-based Cirque de Soleil’s new show “Songblazers,” which debuted at TPAC on July 2, and is covered under an AFM contract, as is the soundtrack album. And, the members of the band have joined Local 257. We welcome them, and all of our other new members as well. Our membership continues to expand and diversify, and Local 257 is proud to be known as the home of the finest musicians in the world. We are glad to have you on the team that puts the music in Music City!
We’re all in this together
A
ttending my first Southern Conference of AFM Locals was a great learning experience, and a fine opportunity for connecting with other officers and members. These fellow AFM officers in the South deal with many of the same things as we do in Music City, along with having some of their own unique issues and perspectives. Regional conferences solidify our solidarity and unanimity of purpose as a union, help us to learn how other locals operate, and give us a chance to share how ours does. There was also an emphasis at the conference on the AFM as an extension of the labor movement as a whole, with presentations on increasing diversity and on understanding the history of discrimination in our country, by an articulate leader of the AFL-CIO in Texas.
It was nice to be able to share some of the cool things we are doing at our local, such as Jazz Nights, World Music Nights, and other free community-focused events in our rehearsal hall like yoga classes, and a long-standing weekly Thursday AA meeting. We also talked about our successful campaign to get parking discounts to musicians who work in the thriving downtown scene, and other ongoing projects. It’s awesome to think that we might inspire other locals to get stuff like this going, and to potentially grow their membership in the process.
It reinforces the idea that there is much that we can do to increase our own membership. I hope our members will make an effort to not only take advantage of all that we offer at the 257, but will encourage their musician friends, tour mates, bandmates, and fellow session players who aren’t in the union to consider joining us. Now is a great time to tell our fellow musicians who
“Now is a great time to tell our fellow musicians who are nonmembers what the AFM is doing for members, for musicians in general and for the community at large.”
are nonmembers what the AFM is doing for members, for musicians in general and for the community at large.
The recent CMA Fest TV show contract we negotiated is a perfect example of how AFM 257 works for all musicians. Those that played on the show received a nice check, but many who received it aren’t members, and they should be. It would be great if those who are members would articulate to the nonmembers that Local 257 is responsible for getting them a larger check than they would have gotten without us. We are in the trenches working for everybody, and we should all be part of the process, along with reaping the benefits.
We all know musicians who should be in the union but aren’t, and so often they aren’t members simply because they don’t realize why they should be, and don’t know what is going on here, which is always evolving. There is strength in numbers, and in diversity — of musical genre, race, gender, ethnicity, religion, sexual orientation and political disposition.
As we enter what is sure to be a very divisive election season, it is vitally important that we as a union focus on what brings all of us together. We are brought together by our love for the art form of music, the joy of music making, the fact that most of us strive to make our living doing it, and our mission as a union to make musician’s lives better — financially and aesthetically. Solidarity around those unifying factors, and through membership in Local 257, is
the best way to achieve our individual and collective goals.
The music events we have on Wednesday nights in the rehearsal hall are also a wonderful way for us to come together. I will be sending email updates at the beginning of each month about the particular events happening in the coming months. These events are free, family friendly and hosted mostly by members, as a service to the members and the community at large. We are so grateful for the members who are sharing their time and talents. We invite you all to come together with us to enjoy one of these soon!
In solidarity and with gratitude, Will Barrow, Secretary-Treasurer
AFM members speak out at American Music Fairness Act D.C. hearings
Local 257 life member Randy Travis, SoundExchange CEO and President Michael Huppe, and Local 257 President Dave Pomeroy were among a group of artists, musicians, and music industry representatives who traveled to Washington, D.C., for testimony during Congress June 26 in support of the American Music Fairness Act (H.R. 791). The act would require AM/FM radio stations to pay artists, musicians, and singers when their songs are played on the air.
Travis provided testimony via his wife Mary, and emphasized the need to provide fair compensation for artists.
visit radio stations and deliver copies of his newest cuts on cassette, in hopes of having his music heard, are a thing of the past.
“Of all the things we do differently than we did a century ago, one thing remains the same—the voice is still the mandatory bridge between the writer and the listener. And it’s time to do right by the ones that create the sound, the melody, the emotion that keeps the listeners coming back and the advertisers buying in.”
gress to modernize the nation’s copyright law to protect creators.
“Congress must set a standard that creators need to be compensated wherever and whenever their music is played–especially when their creations form the backbone of the business model like they do for AM/FM radio,” stated Huppe. “American musicians lose almost $300 million of taxable U.S. income each year because we lack these protections in the U.S.—this is on top of the hundreds of millions of dollars they are already missing out on domestically.”
“Music is, was and will always be his lifeline. But that lifeline has changed. And we need to acknowledge that,” Mary shared. “The days of Randy packing a car and trekking thousands of miles across the country to
In his testimony, Huppe highlighted that the U.S. is the only democratic nation in the world without a performance right for artists on AM/FM radio. He called on Con -
AFM Diligence Results in Major Victory for Pension Fund
AFM President Tino Gagliardi announced Saturday that the American Federation of Musicians and Employers’ Pension Fund (AFM-EPF) has been officially approved for help through the American Rescue Plan Act passed in 2021. The substantial funding assistance ensures the continued health of the AFM-EPF for years to come.
“I want to express my deepest gratitude to everyone who played a role in this achievement. This includes the AFM Executive Board, our dedicated staff, and of course, each and every one of you, our valued members who reached out to your representatives to pass the American Rescue Plan Act in 2021. This is a testament to the strength of our union and the collective power we hold. Your unwavering support and belief in the AFM were instrumental in this success,” Gagliardi said.
Local 257 President and International Vice President Dave Pomeroy said that the official approval will allow members to feel more secure about their retirement, and free up leadership staff for other important work as well.
“The effort to gain this official approval has been ongoing for the last three years, and we could not have received a better or more deserved outcome for our hardworking musicians. Thank you to everyone who reached out, and kept the faith. There have been many important success stories that have come from the pandemic-response conceptualized American Rescue Plan Act, and this very significant assistance adds the AFM-EPF as one of them,” Pomeroy said.
Pomeroy spoke and performed his song “Respect the Band” at a congressional reception after the hearing, emphasizing that supporting musicians as essential creative partners is simply the right thing to do.
“Musicians bring a songwriter’s composition and an artist’s artistic vision to life. We are essential partners in a creative process that enriches all of us and creates the recordings that are the soundtrack of our lives, and one of America’s greatest exports. It’s time we show musicians the respect they are due,” Pomeroy said.
American Federation of Musicians and Employers' Pension Fund (AFM-EPF) Trustees understand that your pension benefit is both valuable and complex for participants. As a result, a new effort to assemble some practical, easy-to-understand information is underway
You can access this information now at www.afm-epf.org.
For a direct link to the participant information section for quick reference, please visit: https://www.afmepf.org/Participants/ParticipantInformation.aspx
AFM-EPF is committed to providing you with the knowledge and resources necessary to maximize your pension planning and benefits.
LOCAL 257 MUSICIANS REPRESENT AT ACM STUDIO RECORDING AWARDS
Local 257 musicians once again dominated the ACM Studio Recording Awards. Honors for 2024 went to bassist Jimmie Lee Sloas, drummer Jerry Roe, Charlie Worsham for acoustic guitar, Rob McNelley for electric guitar, and steel guitarist Paul Franklin for specialty instrument. This year there was a tie for piano/keyboard player; Jim “Moose” Brown and David Dorn will share that award. Producer of the year went to Dann Huff.
KEITH URBAN
Longtime Local 257 member Keith Urban was among those chosen June 24 to be honored with a star on the Hollywood Walk of Fame.
Hollywood Chamber of Commerce President Steven Nissen announced the honorees at a live press conference with Walk of Famers Niecy Nash, Joe Mantegna and Jimmy Jam. Other music creators slated to be recognized include George Strait, Fantasia, Depeche Mode, Los Bukis, The B-52s, Green Day, The Isley Brothers, Busta Rhymes, WAR and the late Prince. The new honorees have two years to choose the date for their ceremony.
Nashville Fiddle Fest
Some of the finest fiddle players in the world came together at 3rd and Lindsley to raise funds for fellow fiddler Glen Duncan, who is still recovering from a stroke and subsequent car accident. Reba McEntire, Dolly Parton, and others donated auction items, and the show raised over $28,000 to help provide for Glen and his family. Thanks to everyone involved!
Stuart Duncan
Casey Campbell, Stuart Duncan, Jeff White, Mike Bub, and Cory Walker
Marsha & Brady Duncan
Jeff White
Darol Anger w/Hawktail (Brittany Haas, Paul Kowert, and Jordan Tice)
PHOTOS BY KRIS FREEMAN AND MICKEY DOBO
Rhonda Vincent and The Rage: (L-R) Adam Haynes, Rhonda Vincent, Mickey Harris, Zack Arnold, and Gibson Davis
A great night of music to help one of our own
Vince Gill and Rhonda Vincent backstage. Vincent is modeling the Reba McEntire dress she won during the event auction.
Deanie Richardson
Jack Schneider and Vince Gill
Del McCoury
(L-R) Heaven McCoury, Ronnie McCoury, Bronwyn Keith-Hynes, Jason Carter, Alan Bartram, Cory Walker.
RICHARD CARTER
Drummer Richard Carter shows off his new Local 257 life member pin.
Craig Duncan and Friends perform a free concert at Fifty Forward Martin Center March 27, cosponsored by Music Performance Trust Fund and Music for Seniors. (l-r) Duncan, Mark Powelson, Billy Smith and David Talbot
Vocalist Jannelle Means and her band perform in celebration of Juneteenth at a Music for Seniors free daytime concert at Plaza Mariachi June 19.
LAURA ROSS
Laura Ross receives her life member pin. (l-r) Dave Pomeroy, Laura Ross, AFM President Tino Gagliardi
PHOTO: DAVID THOMAS
PHOTO: DAVID THOMAS
Jazz Nights are launched at the union!
Local 257's monthly Jazz Night kicked off with a bang in June. The inaugural event featured Jim Ferguson and friends. (l-r) Pat Coil, Ferguson, Danny Gottlieb and Joel Frahm
Jim Ferguson
For Local 257 July Jazz Night we welcomed Andy Reiss and friends. (l-r) Larry Aberman, Roger Spencer, Reiss.
Andy Reiss, Joel Frahm and Rod McGaha
JIMMY CHURCH
by warren denney
Jimmy Church has always wanted to be a part of something — something bigger than himself. When you consider the working life of this band leader, musician, and singer, you begin to understand he is just that.
Church is a part of an historic music scene, interwoven within a vibrant Nashville community — within the fabric of the town’s music memory — and the leader of a longstanding revue of his own making that is working well into its sixth decade.
At eighty-five years, he is a working musician’s working musician.
“I always wanted to be a part of something,” Church said recently, from his home in Brentwood. “Believe it or not, I never really wanted it all to myself, even when I was doing my own thing and dressing sharp and was getting the attention. I always wanted a revue with me. It’s kind of strange. Here you are, an artist, but yet you want to be with everybody else.
“Include everybody else. That’s just the way I looked at it. I didn’t look at is as if I was a great entertainer. Once I saw Jackie Wilson in ‘68, I knew that I had to do something else, other than just sing. You’ve got so many good singers out there, you have to be able to do other things … ”
And, as is so often the case with those who have made a real difference, Church emerged from humble beginnings and retains those lessons learned today. He was raised by his grandmother on Ninth Avenue North and Jefferson Street, a church-going household. His father had landed in prison for stealing, his mother had started a new life — and a new family — in Detroit. His earliest musical experience came through church.
“She was very religious … and I didn’t want to go to hell,” he said. “I grew up with that. That’s why, I’m eighty-five years old, and to this day, I never was a drinker, smoker, or took drugs. That was instilled in me as a child, and I saw other people drunk and crazy. Why would I want to do that? I left it alone, and she’s a big influence on me, and on my work ethic … I always had to work for what I got. My grandmother always told me, ‘Just do the right thing, and God will always protect you.’ I’m going to tell you, man, to this day, what I’ve been through — through all my life — God has really protected me.
“I started out playing, singing gospel. I was singing in a gospel group when I was about twelve or thirteen, and that’s how I first met Bobby Womack, playing a show in Dayton when I was maybe fifteen. He and I have been friends ever since then.”
All the while, an electric scene flourished around him, born originally from a bustling early twentieth century entertainment district around Jefferson Street and north Nashville. As Church came of age in the mid-1950s, venues like the Club Del Morocco, the New Era Club, the Club Baron, the Black Diamond Club, Maceo’s, the Club Stealaway, and some others more obscure, generated what would become a hot R&B cauldron. He would benefit from the remnants of that scene later.
“Oh yes, it was live,” Church said. “It was just all live music. What killed Jefferson Street — what killed it eventually
— was when they let the freeway go right through the heart of it, and that destroyed the whole thing. Everything started breaking up, and then the white clubs started opening up, and then Jefferson just, it wasn’t the same.”
Church attended Pearl High School, and though he remained grounded within gospel and church, he began to explore secular music, even envisioning himself briefly as an opera singer.
“I wanted to be an opera singer,” Church said. “I was always singing. Enrico Caruso was my idol. I used to hear Mario Lanza. I used to listen to all of that, the tenors, and that fascinated me. That’s what I wanted to do.”
Though he eventually cooled on the specific idea, he sang and practiced constantly with many styles throughout high school. He was ultimately coaxed, with his grandmother’s blessing, into performing on WSOK/WVOL radio for the program director Rev. Morgan Babb, a stalwart Nashville band leader and singer himself, with an eye for talent. Babb would be the first to record Church professionally.
“He talked to my grandmother, and asked her if she would allow me to sing for him — he'll take care of me, and all this type of stuff,” he said. “That’s how I started singing secular music. We recorded my senior year. We were called The Five Seniors, and we got it from The Four Freshmen.”
The group, which included a young Bobby Hebb on guitar, recorded one single “Why Did You Leave Me” and “Sloo Foot Soo” for Babb, released on Excello Records in 1958, the same year he graduated from Pearl High. The band changed its name to the Hi-Fi’s and recorded for Montel Records out of Louisiana. Even so, Church was torn on how to shape his career.
“My music teacher sent me to Fisk,” Church said. “I was practicing with the Fisk Jubilee Singers. Once I graduated from Pearl, I would go to Fisk … We didn’t have any money. It is an elite private school. I didn’t know about grants, or scholarships, or anything like that. I practiced with them and sung in the choir for half a semester. You had to do this, you had to do that … so I went to L.A.”
As Church came of age in the mid-1950s, venues like the Club Del Morocco, the New Era Club, the Club Baron, the Black Diamond
Club, Maceo’s, and the Club Stealaway, generated what would become a hot R&B cauldron.
He went to Los Angeles in 1959 to make it, and received a dose of hard reality. Church landed a spot on the popular weekly Johnny Otis Show on KTTV, competing in a talent contest.
“A bunch of us went to L.A. to try to change the music — to change what was going on,” he said. “That’s where I met Johnny ‘Guitar’ Watson, all the singers, and all the guys out there. I stayed out there for a minute, just to start a new realm of life. I didn’t have any money.
“I was on the Johnny Otis Show. He had a contest, and the winner would be whoever got the most applause — you would win a record deal with Johnny Otis. The Righteous Brothers were on that show, and another band. I won. I tied for first with the band. I met [R&B singer and dancer] Sugar Pie DeSanto … She was there, telling me different things, and I went to the restroom, and I heard them saying they could tie me up in a contract for five years and not give me anything. When I heard that, I just walked on out the door and never looked back. I didn't want to deal with it. It was a blessing for me, and a blessing for the Righteous Brothers they didn’t even know.”
There were other hard lessons for Church. Even though he made many connections and played with luminaries that would influence his musical growth — people like Jackie Wilson, Marvin Gaye, and Little Richard — he
was living hand-to-mouth. There were odd jobs, but nothing sustainable. In spite of the challenges, Church was committed and unafraid of risk. He drove cross-country to Detroit from Los Angeles, pretending to have an appointment at Motown. Berry Gordy, Jr., offered him a work-for-hire songwriting gig, and he managed to meet Martha Reeves, but the foray yielded little more than experience, and Church returned to Los Angeles.
There, he continued to play with the Crusaders, backing other stars primarily at Billy Berg’s 5-4 Ballroom, in the upstairs of a twostory building on Broadway which hosted blues and R&B heavyweights. Unfortunately, harder lessons awaited him there. The scene in which Church was immersed was loaded with drugs and other classic vices, including prostitution and gambling. He managed to avoid the pressure cleverly, but the lifestyle nearly pulled him under.
“They would say, ‘Jimmy, hey man, come on, get a hit, man,’” Church said. “I never took anything. Never. I’d say ‘I’ll be right back. Set them up. I’ll be right back.’ Sooner or later, they might catch on, and so I didn’t really like that lifestyle. When I came back home to Nashville, I was so happy to be away from that stuff. I didn’t want that kind of life.”
He returned to Nashville to attend the funeral of his favorite aunt, who had sung in a group that had included WVOL executive Noble Blackwell’s sisters. Blackwell,
the storied creator and host of the groundbreaking television show Night Train, knew Church had the kind of experience he needed.
“He [Blackwell] said he wanted me to be on Night Train,” Church said. “He said we’d see how the audiences worked out. Well, I only had the clothes for the funeral because I planned on going right back to L.A. But, the more I thought about it … I found out Clifford Curry had left this great band out of Clarksville, the Bubba Suggs Combo. He had gotten a record deal. They wanted me to stay around and play with them. Johnny Jones was playing over at the Era, and they asked me to play with them. Then, here came Noble with the Night Train thing. That’s why I stayed.
“I mean, thank God, that wasn’t my life in L.A. That wasn’t my lifestyle. Probably sooner or later, there’s no telling what I might’ve done. You can’t keep fooling around like that. Noble said if he managed me, he’d put me on all the shows, so that’s how I wound up singing on Night Train.”
Of course, the show was a hit, making its debut in the fall of 1964, six years ahead of Chicago’s Soul Train, and was the nation’s first syndicated R&B television series. Hosted by Blackwell and filmed at Nashville’s WLAC-TV studio, the program featured guest stars like James Brown, B.B. King, and Joe Tex, and a house band led by Bob Holmes. That band included Church and leaned into old friend and guitarist continued on page 20
Jimmy Church Band appearance on Say Yes to the Dress finale 2016.
Johnny Jones, and showcased Nashville performers such as the Spidells and the Hytones, and a fledgling Jimi Hendrix who had been knocking around town with bassist Billy Cox in the King Kasuals.
Church, who seemingly played with everyone in town, would fall in with the Kasuals as a vocalist, playing many of those local venues around Jefferson Street and the regional Black circuit that were still holding forth. The King Kasuals shape-shifted throughout the mid-1960s, providing live work, session work, and refuge for an evolving lineup that included Cox, Hendrix, Church, Johnny Jones, Larry Lee, Bob Wilson, and others,
“I was playing with Billy’s band, with Jimi Hendrix, and Larry Lee,” Church said. “Lee was the one that kept the rhythm going. Jimi Hendrix never played the song like it went. He always had these different ideas about stuff, so people back then — you had to play the song like the records. Larry Lee always kept the song like the record goes, and I always tell the story about Hendrix. Man, he was mellow and always stayed high, and we played in Clarksville one night, and he busted his speaker, and he said, ‘Church, this is that sound, man,’ and I said, ‘What are you talking about, Jimi? What you talking about, man? The speaker is busted.’ He said, ‘No, no.’ He was hearing the fuzztone before it was even out. That’s how way out he was. He was running a guitar all up the microphone stand, and making all kinds of noise. See, back then, the audiences didn’t know what to make of it … they thought he was crazy.”
Night Train played a midnight Friday/ early-Saturday a.m. slot and ran for roughly three years. The !!!! Beat, hosted by WLACradio’s Hoss Allen, came on the heels of Night Train, similarly presented and featured Nashville musicians in the house band led by Clarence “Gatemouth” Brown. It was nationally syndicated and taped at WFFA-Dallas in color, and featured guests such as Otis Redding, Etta James, Lou Rawls, Freddie King, Joe Simon, Esther Phillips — a glittering list of R&B and blues royalty. Church played congas and sang, as they taped 26 episodes which ran for one season in 1966.
Church’s involvement in Nashville’s overall R&B scene, his broad experience, and contributions to so many records and bands made him an integral part of the
Country Music Hall of Fame and Museum’s exhibit “Night Train to Nashville: Music City Rhythm & Blues Revisited.” The exhibit, which opened in the spring of this year, landed twenty years after the museum’s original major exhibition presented in 2004, “Night Train to Nashville: Music City Rhythm & Blues, 1945-1970.” Church has been featured in the museum’s onstage in-
NIGHT TRAIN TO NASHVILLE:
terviews, performances, and panel discus
sions, expanding the narrative and documenting the potent and historic scene.
“I was like the all-around guy on The !!!! Beat,” Church said. “That’s how I sang so many songs on that show, because when people didn’t show up, or were late, Hoss would have me take that spot.”
MUSIC CITY RHYTHM & BLUES REVISITED
-
Levert Allison and Jimmy Church attend the opening of "Night Train to Nashville: Music City Rhythm & Blues Revisited."
Jimmy Church attends the opening of "Night Train to Nashville: Music City Rhythm & Blues Revisited" at Country Music Hall of Fame and Museum on April 25, 2024.
Photos by Terry Wyatt/Getty Images for the Country Music Hall of Fame and Museum
Those years throughout the 1960s were intertwined with Church’s own work as a recording artist, and by touring with Jackie Wilson, a major influence in his life, in 1968. The experiences ultimately led to his forming his own revue in the 1970s — the popular and widely traveled Jimmy Church Band, his heart and soul.
Managed by Hoss Allen, he recorded “Find a Job” and “Fool No More” on Hickory Records in 1962, and released “The Hurt” on Okeh in 1963, a song credited to his cousin Freddie North, and recorded at Owen Bradley’s studio. He released “Right On Time” for Southern Artists in 1965, and landed with John Richbourg, the infamous disc jockey John R. of WLAC, recording “Soul Shack,” “Faith in Me,” and “I Don’t Care Who Knows,” among other singles for Rich Records and Sound Stage 7 (which re-released “Right On Time” in 1966). Several of Church’s unreleased recordings from that time, including “Soul Shack,” appeared much later in 2007 on The Rich Records Story on Sound Plus.
“I was with John Richbourg [on Sound Stage 7],” Church said. “He had Joe Simon on the same label, and my song, “I Don't Care Who Knows,” was the first song I ever put out that really made some noise. It was a hit in Mobile, it was a hit in Louisville, it was a hit in Charlotte, but it wasn’t a national hit.”
Church asked Richbourg to be released from his contract so he could join the Johnny Jones Band, who was backing a Jackie Wilson tour in 1968.
“He let me out of the contract,” Church said. “I had to give him my songs, and he let me out. I went ahead and recorded for Peachtree Records. Henry Wynn was over there, and then I went on tour with Jackie Wilson.”
He wrote and recorded two songs for Peachtree, “Thinking About the Good Times,” and “Shadow of Another Man’s Love.”
"I thought if I was going to make it in the music business, I would have to start playing an instrument and get my own band. That's why I started picking up the bass."
“I realized being with Jackie Wilson, I was going to have to do something other than just sing,” Church said. “Because if I was just singing, I would have been through over thirty years ago. He called me his little brother. I thought if I was going to make it in the music business, I would have to start playing an instrument and get my own band. That’s why I started picking up the bass. I got the idea for the band from a show Bone Holmes & Friends — they did the Supremes, all that Motown stuff.”
“That gave me the edge to still be doing it at eighty-five. I’ve got a band, and people need bands. You can’t beat Motown — you can add everything to it — but you can’t beat it. I made it more of a Tina Turner type show. That’s why I’m still doing it today. My band has taken me, I’ve played all different continents [all over the world], all because I have a band … I’ve played for the Royal Family. I’ve met people I would never dream of meeting.”
Church released a record, Straight Outta Old School, in 2017, adding further note to his vibrancy and longevity. He can be found Tuesday nights at Carol Ann’s on Murfreesboro Road in Nashville, providing music, introducing artists who have been working musicians, both locally and beyond, and honoring those who have given so much of themselves to live music.
“It’s a good thing,” Church said. “Honoring musicians that have kept music — live music — alive. I look at guys who’ve been playing at least twenty-five years, and give them a plaque for their music. It’s called ‘Keeping Live Music Alive.
“I’ve been blessed, man. My life. My grandmother prayed for me, and blessed me. I can see how God has blessed me … it’s just amazing.”
CHURCH’S RIG
“I picked up the bass because after touring in ‘68 with Jackie Wilson and seeing what a talent he was, I decided if I wanted to make it in the music business,I would have to get my own band and hire singers. I learned the bass because there weren’t many bass players who sang and played the bass. Most people played the guitar and sang. I thank God for giving me the wisdom to see that because it has really paid off. I’m still doing it at 85 and counting. If I just stuck to singing, I would have stopped years ago.”
At the moment Jimmy’s main axe is a Tobias 5-string.
It’s About Time is a powerful musical statement by one of Nashville’s finest arrangers, composers, and bandleaders — longtime Local 257 member trombonist Chris McDonald.
The Chris McDonald Jazz Orchestra
It’s About Time | Constant
Dreamer
Records
It’s About Time is a powerful musical statement by one of Nashville’s finest arrangers, composers, and bandleaders — longtime Local 257 member trombonist Chris McDonald. The album features a Who’s Who of world-class players, including a multigenerational blend of Music City’s excellent jazz community, with a few special guests thrown in for good measure. The album cover speaks volumes about the collaborative nature of this project, which is one of the best big band records you will ever hear.
The core musicians include saxophonists Mark Douthit, Jeff Coffin, Jimmy Bowland and Ryan Middagh, trumpeters Steve Patrick, Mike Haynes, Emmanuel Echem, Jeff Bailey, and Mike Casteel (Local 802), trombonists Roger Bissell, Barry Green, Roy Agee, Ernie Collins, and keyboardist Pat Coil. The rhythm section personnel varies from song to song, and includes guitarists Tom Hemby, Pat Bergeson, Mark Baldwin, and Andy Reiss, and bassists Craig Nelson, Brian Allen, Gary Lunn, and Jim Ferguson. The list of all-star drummers includes Bob Mater, Keith Carlock, Danny Gottlieb, Jordan Perlson, and Dennis Chambers (Local 40-503), and percussionist Glen Caruba. The string section, led by David Davidson, includes many of Local 257’s finest players
as well. Everyone involved brough their “AGame” and the results are phenomenal.
The album opens with a surprising reinvention of the ‘70s rock classic “Roundabout” by the British prog-rock group Yes, that perfectly sets the stage for the musical adventures to come. McDonald’s spellbinding arrangement honors the complexity and ever-shifting sonic tapestry of the original record, while taking it to new areas of harmony and rhythm. Both Joel Frahm’s tenor sax and Hemby’s guitar soar over the intense rhythms of Carlock, Lunn, and Caruba. The rest of the album lives up to the high standard of the opening track, and McDonald and company take the listener on a journey through many variations of styles and sounds.
“Stranger Danger” is a smokin’ shuffle groove featuring special guest trombonist James Pankow from the group Chicago, and the dynamics and interplay between him, Coffin, and Echem are fantastic as the band twists and turns beneath. “Bondade Mora Aqui,” with Chambers on drums is a propulsive and melodic piece, with Coil’s nimble playing and Agee’s trombone leading the way. “If The Things We Said Were True” is a gorgeous original featuring Nando Lauria on vocals, with Gottlieb and Allen laying down a deep groove with Baldwin’s elegant guitar standing out as well. The lush melodicism of “Just Take My Hand” brings to mind Gil Evans, and Bissell’s trombone leads the way, perfectly paired with Douthit’s alto and Echem’s trumpet. The constantly shifting textures of McDonald’s arrangement ebb and flow beautifully, with a nod to Count Basie at the end.
The hard swinging “DoMo” is dedicated the late Doug Moffet, and the tune and arrangement is built around a previously recorded
sax solo from 2017. His unique spirit and great playing is uplifting and a joy to hear one more time. “Corean Fantasy” is inspired by the late great Chick Corea, and captures his essence perfectly, featuring great playing by Coil, an earthy flute solo by Coffin, and great playing from Mater, Allen, and Caruba. David Foster’s song “You Can Have Me Anytime” is the album’s only other cover, and McDonald’s beautiful arrangement features superb high register trumpet from Patrick, and tasty guitar from Bergeson.
Versatile vocalist Wendy Moten is a special guest on McDonald’s “A Song is but a Dream” and sounds very comfortable singing about the joys of creativity, and once again the arrangement shifts and spins in unpredictable and fabulous ways. The album closes with “It’s Been a Long Time” which features two of Nashville’s most iconic jazz players, George Tidwell on flugelhorn and Denis Solee on tenor sax, along with Ferguson’s deep upright bass. This sentimental tune brings it all back home and is a perfect ending to an album that bears repeated listening.
Kudos to Chris McDonald, all the musicians, and everyone involved, especially his longtime collaborator, engineer and coproducer Dan Rudin, for creating a timeless classic with this record. The variety and subtleties of these arrangements and performances are deep, and McDonald and friends completely avoid clichés and keep it real from beginning to end. In a truly American musical genre that thrives on progression and moving forward, It’s About Time is the perfect title for an album that brings a fresh approach to instrumental music. Jazz is alive and well in Nashville, and this album is definitive proof of that.
Johnny Cash
Songwriter
Universal Music Group
This album is an unexpected treasure, to say the least. It consists of 11 unreleased songs originally written and recorded by Johnny Cash at LSI Studio on Music Row in the early 1990s. These demo recordings have been taken off the shelf by Cash’s son John Carter Cash and stripped down to Cash’s guitar and vocals. They were enhanced with new overdubs by a combination of Cash collaborators, including Marty Stuart on guitars, and Cash’s longtime bassist, the late Dave Roe, with choice contributions by artists Dan Auerbach, Waylon Jennings, and Vince Gill. Along with Stuart and Roe, the excellent core band includes Pete Abbott (drums), Russ Pahl (guitars, steel, tic tac bass) Mike Rojas (keyboards) and Sam Bacco (percussion). Cash’s voice is strong and expressive throughout, the songs are excellent, and the production tastefully combines the sounds from various stages of Cash’s career. The album is a fascinating glimpse into Cash’s mindset as a songwriter, a reminder of the emotional power of his voice and the wide range of his long and illustrious career.
Opening with the cosmic “Hello Out There,” a plea to the universe from planet
Earth, Cash’s emotional vocal echoes into an appropriately otherworldly soundscape featuring steel and piano. “Spotlight” features Dan Auerbach playing some very funky guitar against a swampy groove by Roe, Abbott, and Bacco while Matt Combs’ spooky strings ebb and flow and add to the drama. John Carter Cash and Wesley Orbison add electric guitars to “Drive On” — the first of several songs about soldiers. This tale of a Vietnam veteran’s past and present is chilling, and the pulsating feel and sound effects add to the powerful message.
“I Love You Tonight,” featuring Rojas’ sweet country piano, is a love song directly sung to June Carter Cash, with Waylon on harmony. “Have You Ever Been to Little Rock” is a melodic twangfest featuring Stuart, Kerry Marx, and Pahl layering multiple guitars. Harry Stinson is singing excellent harmony, as he does on much of the album. In addition, it is wonderful to hear Dave Roe playing bass with Cash, his boss of many years, one final time on these recordings.
A hilarious tale of a chance meeting at a laundromat, “Well Alright” has a classic Tennessee Three-feel with Roe and Abbott laying it down under Stuart’s authentic Lu-
Hats off to John Carter Cash and his coproducer David Ferguson, who brought these songs to life and gave the world one more look into the charismatic and complex Man in Black, Johnny Cash.
ther Perkins-style twanging and Pahl’s baritone tic tac guitar. “She Sang Sweet Baby James” is a story song of the highest order, and Combs’ mandolin and strings combine with Pahl’s steel to give it a lush surrounding. “Poor Valley Girl” is another tribute to the love of his life, June, and “Soldier Boy” is a tale of the courage and challenges of military service, with Stuart, Roe, and Abbott playing just enough to drive the story home, but never get in the way.
Flipping the script and singing from a music fan’s perspective, “Sing it Pretty Sue” shows Cash’s ability to not take himself too seriously. The album closes with a final military metaphor, “Like a Soldier,” with a strong lyric and vocal performance by Cash and once again, harmony by none other than Waylon Jennings. It is a strong ending to an album that comes out of nowhere to remind us just how important Johnny Cash was, and still is. Hats off to John Carter Cash and his coproducer David Ferguson, who brought these songs to life and gave the world one more look into the charismatic and complex Man in Black, Johnny Cash.
LOCAL 257 INCREASES LOCAL DEMO AND LIMITED PRESSING RECORDING SCALES
At the last membership meeting, Local 257 members overwhelmingly approved raises to Demo and Limited Pressing scales, and also created a new multiple employer demo scenario that allows two or three employers to share expenses on a single three-hour session. The raises took effect July 1, 2024.
Going forward, we will monitor these rates and consider raising them each time the national SRLA recording scales go up, which is typically in February of each year. Health & Welfare payments remain at $30 for the first session in a day, and $22 for each additional session in a single day. Pension is still 14.09 percent of scale.
Here are the new numbers:
3-hour Demo Session: The new rate is $170 for side musicians, plus H&W and 14.09 percent of scale for pension. Leader scale is $340 plus $30 H&W plus 14.09 percent of scale for pension.
3-Hour Limited Pressing Session: The new rate is $216.50 for side musicians and $433.00 for leader, plus H&W and 14.09 percent of scale for pension.
2-hour Limited Pressing Session: The new rate is $144 for side musicians and $288 for leader, plus $30 H&W and 14.09 percent of scale for pension.
Going forward, we will monitor these rates and consider raising them each time the national SRLA recording scales go up, which is typically in February of each year.
Multiple Employer Demos: There are two new scenarios for 3 -our sessions shared between multiple employers. The first concept creates two 1.5-hour sessions and the second creates three one-hour sessions from a three-hour session. All multiple employer sessions in a day have a $30 H&W payment and pension of 14.09 percent of scale. The rates are as follows:
Two Employer Demo Session: Scale, H&W and Pension are split in half between two employers. Each employer pays $92.50 for scale plus $15 H&W payment, plus pension of 14.09 percent of scale, with total scale for 3 hours being $185, plus H&W and pension. Leader pay is $185/hour, plus H&W and Pension, and total 3-hour pay is $370 plus $30 H&W and pension.
Three Employer Demo Session: Scale, H&W and Pension are split between three employers. Each employer pays $65/hour for scale plus $10 H&W payment, plus pension of 14.09 percent of scale, with total scale for 3 hours being $195, plus H&W and pension. Leader pay per employer is $130/ hour, plus $10 H&W and Pension, and total 3-hour pay is $390 plus $30 H&W and pension.
For more detailed information on these and all other recording questions, please visit the Recording page of our website. Here’s the link: nashvillemusicians.org/scales-forms-agreements
BY MELINDA WHITLEY
IWe negotiated a good increase in wages for a one-year deal. We’ll return to the table again in the coming season.
am happy to say I have some good news to share! I imagine the most interesting news is that our symphony contract negotiations have concluded, and we have a deal.
As I mentioned in my last article about negotiations, no one gets everything they want, and this time was no different. The biggest takeaway is that the symphony association bought itself a little time to do better. We have agreed to a one-year contract extension with some important modifications in work rules and processes. Perhaps the most significant gain was our hard-won raise of 5.11 percent for the year. Our symphony musicians have been in survival mode for a long time, and considering the realities of this moment in our organizational story, we negotiated a good increase in wages for a one-year deal. We’ll return to the table again in the coming season. I would like to thank each of our committee members for their time and dedication during the process.
Here is a picture of our negotiating committee on our last, long day at the table after agreeing to a deal. Included left to right: Patrick Walle, attorney Kevin Case, committee co-chairs Brad Mansell and Mindy Whitley, Louise Morrison, Matt Abramo, and Local 257 President Dave Pomeroy.
In other news, back in mid-May I had the opportunity — between symphony rehearsals — to meet for lunch with AFM President Tino Gagliardi and AFM Vice President and Local 257 President Dave Pomeroy. I am grateful to have the kind of relationship with our local president that allows me to talk about my concerns whenever I need to do so, but it was my first time meeting with Tino and I did not know what to expect. I appreciated that he was willing to take the time to talk with me over lunch between my rehearsals, and I was pleasantly surprised that he and Dave returned to the hall with me and listened to a bit of the rehearsal after lunch too!
While we covered several normal subjects for a conversation between an orchestra’s shop steward and the AFM president, I was
especially appreciative that Tino was willing to listen to me express a few concerns and thoughts about sexual harassment in the symphonic workplace. The topic has been a difficult one for the AFM regarding recently publicized events, and myself along with my colleagues here in Nashville had our own thoughts we felt needed to be heard. After discussing some of my concerns with the symphonic services director earlier in the spring, I’m grateful to Dave Pomeroy for helping me to follow through when I heard that Tino was going to be in town on union-related business. I like being able to report back to my colleagues when our voices are heard.
After meeting with Tino, I had another opportunity to add my voice to the AFM’s conversations regarding sexual harassment in the workplace. Dr. Karen Suarez Flint, secretary-treasurer of the Chicago Federation of Musicians Local 10-208, had put together a Change the Culture Committee and I was invited by Keith Carrick, chair of the International Conference of Symphony and Opera Musicians, to participate after the committee had already met once. Unfortunately, due to our symphony contract negotiations schedule, I was only able to participate in one of the remaining two meetings of the committee and had to keep up via email the rest of the time, but that one meeting had quite an impact on me.
Never before have I participated in a meeting with a group of such respectful, supportive, well-spoken, and well-informed women in my industry. I hope to have more experiences like that in the future. I found the discussion with these women both invigorating and inspiring. I spend a lot of time studying perspectives and the role of things like cultural differences, bias, and harassment within a conflict. I would like to acknowledge the other women on the committee for their commitment to this often-difficult work. Many thanks to Dr. Flint, and committee members Jennifer Arnold, founding member, Black Orchestral Network; Heather Boehm, president of the Theater Musicians Association; Marta Bradley, secretary-treasurer, Local 161-710, Washington, D.C.; Tammy Noreyko, secretary-treasurer, Local 7, Orange County, California; Stephanie O’Keefe, president, Local 47, Los Angeles; AFM Director of Symphonic Services and Special Counsel Rochelle Skolnick; Amanda Swain, secretary, Regional Orchestra Players Association; Ellen Trainer, president, Local 77, Philadelphia; and Michele Zach-Belanger, Organization of Canadian Symphony Musicians.
I am pleased to be able to share that the Change the Culture committee came up with six initial recommendations regarding how to better protect all of the musicians within our union workplaces. They were presented to, and unanimously accepted by, the AFM’s International Executive Board on June 13, 2024. Here is a link to the recommendations that were accepted: CHANGE THE CULTURE COMMITTEE
Among the things I learned from this committee and would like to share include that since 2021 the Chicago AFM Local 10-208 has been using the #NotMe app to report workplace concerns of any kind, either anonymously or by name. Also, New York City’s Local 802 has just initiated the use of the #NotMe app for its members. In addition, Lara St. John has been interviewed on a recent podcast episode of “Mind Over Finger” that you might find interesting. She discusses recent events and examines what we can do now: Creating Change: Ensuring Safety & Equity in Classical Music Podcast
Summer blues? Yes, and jazz too. Choices abound around town this year.
Nashville has become a city of rapid change. And in spite of the difficulties, it’s exciting to see that include new bands, new music venues, and lots of experimentation. All kinds of new art and entertainment is being spotlighted online. Be careful if you are new to town, online information can sometimes be wrong or out of date. Dozens of sites still list B. B. King’s as a great place for music and food. Same for 12th & Porter, which closed in 2015. Actually, both these sites are now being developed into exciting new music presentation concepts. Stay tuned.
I know everyone is hip to promoting their gigs online. Want people around the world to know what you’re doing? Check out JazzNearYou.com sponsored by AllAboutJazz.com. At JazzNearYou, you can search the national events calendar, or you can list your own events by creating an account. Current listings on the Nashville calendar include Boney James at the Fisher Center on August 4, blues legend Buddy Guy at the Schermerhorn on August 14, and another traveling guitar player (who is new to me) Chris Strandling at Sambuca on August 14. Start your party on the 14th at 11 a.m. with Music for Seniors at the Tennessee State Museum featuring Big Monti’s Memphis Music Revue. This concert features Local 257 member, and blues guitarist Monti Amundson, and is funded by the Music Performance Trust Fund. To make reservations for it go to eventbrite.com
For the last year we have enjoyed the artistry of ace tenor saxophonist Joel Frahm in many venues around town. I’m sorry to report that Mr. Frahm has found a teaching gig at a college in Texas and will be leaving us soon. We wish him best of luck and look forward to his next CD. Virtuoso trombonist Bob McChesney is still with us and his latest release is a set of jazzstyled spirituals called Come Sunday on MoCo Records. McChesney and his all-star quartet get plenty of room to stretch while joined on several tracks by strings and choir.
City Winery offers an interesting artist, jazz trumpeter and vocalist Matt Von Roderick from New England. DownBeat magazine says Von Roderick is “taking jazz into the future.” He plays here July 28 at 7p.m. Aug. 18 offers the return of dynamic percussionist/vocalist Sheila E. and the E-Train for two shows, 6 p.m. and 9:30 p.m. Try vocalist/actress Lisa Stewart and her jazz combo Aug. 24 at noon. You don’t often hear jazz at the Country Music Hall of Fame, but do not miss virtuoso guitarist Julian Lage on Sept. 7 at 8 p.m. Attend
BY AUSTIN BEALMEAR
his master class before the concert and find out how he does those amazing things with a Fender Telecaster. And then there’s blues with Keb Mo’ at the Ryman on Sept. 21.
Rudy’s Jazz Room continues to offer musicians a chance to stretch. Saxophonist Don Aliquo will be featured the month of August in a variety of settings. On Aug. 1 he brings in a classic quartet to play the music of John Coltrane from the year 1961 when ‘Trane released a series of classic albums: My Favorite Things, Coltrane Jazz, Live at the Village Vanguard, and more. Aug. 10 and 24 he plays late night sets of serious improvisation with only bass and drums. On Aug. 16, Aliquo moves forward to the post-Coltrane era when ‘Trane’s drummer Elvin Jones led a two-tenor quartet. Aliquo and guest tenor Miguel Alverado will revisit the quartet’s Live at the Lighthouse - Vol. 1 & 2 (1972).
The new school year will include a concert by Belmont’s Faculty Jazz Group Sept. 20 in Massey Hall. The Nashville Jazz Workshop’s annual fundraising party is Oct. 29 at 6 p.m. in Liberty Hall at the Factory in Franklin; and the MTSU Salsa Band performs Nov. 25 in Hinton Hall of the Wright Music School in Murfreesboro. That ought to defrost the turkey.
Some venues don’t advertise much but are worth checking out. Evelyn’s Restaurant in the Hutton Hotel on West End has jazz Thursdays and Sundays. There’s Gannons in the Marriott Courtyard on 4th Avenue North, and Jeff Ruby’s Steakhouse downtown. Sinatra Bar & Lounge offers singers doing the classics every day, Valentino’s has everyone’s favorite piano bar lady, and CHAR steakhouse in Green Hills has a full calendar of jazz pianists on its website. Come back to Printer’s Alley where The Fedora Lounge in Boots Randolph’s old club now has live music, and the parking lot at 2nd & Robertson only charges $5 on weekends.
How about a major downtown blues jam? The Tedeschi Trucks Band rocks Ascend Amphitheater Sept. 21. Don’t wait until the last minute, tickets are already going for as much as $1000!
See you out there.
Russell Edward Hicks
March 13, 1942 – Dec. 11, 2023
S
teel guitarist Russell Edward “Eldorado” Hicks, 81, died Dec. 11, 2023. He worked with Connie Smith and many other artists on tour and in the studio, and was a staff band member on the Hee Haw TV show for 13 years. Hicks was a life member of the Nashville Musicians Association who joined Local 257 Jan. 21, 1967.
He was born March 13, 1942, in Beckley, West Virginia, to Goldie Mae and Lawton Hicks, and was the eldest of five brothers. His musical journey started when he was given a guitar at the age of five. Hicks attended Woodrow Wilson High School in Beckley, West Virginia, then finished high school in Las Vegas, Nevada, after the family moved. He was already performing as a teen — his band, the King Teens, played the Showboat Hotel Casino in Las Vegas. After graduation he moved to Chicago, where he played in local clubs with different jazz and country artists. Three years later he was hired to play in the house band for Slim Mim’s Show, a program originating from South Carolina.
His next move was to Nashville, where he joined Connie Smith’s band after a recommendation by departing band member
“When Russ was in a band, the band was better” — Charlie McCoy
Weldon Myrick. In addition to Smith, Hicks performed with many other artists including Ray Price and Kitty Wells. He played studio sessions and toured around the world with a host of musicians, including Barefoot Jerry, the Nashville Super Pickers, and the Country Showdown band. He also performed with the house band for the CMA Awards television show.
Hicks was a member of the International Steel Guitar Hall of Fame and the West Virginia Music Hall of Fame. He also had his own line of steel guitars and products, along with many endorsements given to him throughout the years. In addition to his many recording credits for other musicians, he released several solo albums.
Fellow musician and Local 257 member Charlie McCoy said “When Russ was in a band, the band was better.”
In addition to his parents, Hicks was preceded in death by two brothers, Denver Ray Hicks and Roger Hicks.
Survivors include his wife and favorite singer, Laney Smallwood Hicks; one brother, David Hicks; four daughters, Angela Hicks Shapiro, Jennifer Hicks Orbison, Holly Beth Singleton, and Lindsay Hope Gipe; seven grandchildren; and two great-grandchildren.
Russell Hicks and Tim O’Brien
RONALD PRESTON ELLIOTT
April 12, 1936 – Dec. 19, 2023
Steel guitarist Ronald Preston Elliott, Sr., 87, died Dec. 19, 2023. He was a life member of the Nashville Musicians Association who joined Local 257 Feb. 14, 1968.
He was born in Salisbury, Maryland, April 12, 1936, to Howard Preston Elliott and Blanche Belle Church. After service as a tank commanding sergeant with the U.S. Army in the Korean War, he moved to Nashville to pursue a career in music.
It wasn’t long before Elliott found work performing with many artists on the Grand Ole Opry. He spent several years in Jack Greene’s band, and also worked with Stonewall Jackson. In addition, he subbed for a wide variety of artists, played on recording sessions, and performed at steel guitar shows. The late Bobbe Seymour, fellow Local 257 member and steel guitarist, said “Ron was a superb showman. Between his music and his humor he did one of the finest shows that a steel guitar player could do.”
Elliott also worked for the Davidson County Sheriff’s Office in the ‘70s and played in the sheriff’s band. He was inducted into the Steel Guitar Hall of Fame in 2009.
Elliott was preceded in death by his parents; and his wife of 59 years, Leslie Ann Elliott. Survivors include one son, R.P. Elliott; two daughters, Nancy and Cheryl Elliott; six grandchildren; and four great-grandchildren.
A celebration of life was held Dec. 28 at the chapel of Sumner Funeral & Cremation Lakeside in Hendersonville.
GARY LYNN BURNETTE
Oct. 5, 1953 – Nov. 23, 2023
Guitarist and producer Gary Lynn Burnette, 70, died Nov. 23, 2023. He was a life member of the Nashville Musicians Association who joined Local 257 Dec. 1, 1980. He was born in Memphis, Tennessee, Oct. 5, 1953, to Sara C. and Joseph H. Burnette, and fell in love with the guitar at an early age. His passion for music was evident in a story he told fellow Memphian Kye Kennedy. As the story went, one of Burnette’s childhood friends was Knox Phillips, son of Elvis producer Sam Phillips. Knox told Burnette and a friend that if they wrote a good song maybe he could play it for his father. The two wrote a song, got impatient, (Knox was out of town) and decided to go to a friend’s house whose property backed up to Graceland on the premise that they wanted to play with him. Once there they jumped the fence and snuck onto the back porch of the mansion, where they were soon discovered by security. Unbelievably, they pled their case that Sam Philips wanted Elvis to hear the song,
and got taken downtown to the Memphian Theater stage entrance. Elvis came out, looked at them, and shook his head no. Burnette and his buddy’s adventure then came to an inglorious end, after a talkingto by police. The rest, Kennedy said, was history.
After high school graduation, Burnette attended Memphis State University, where he received his Bachelor of Arts degree in Music. He also attended Berklee School of Music.
Burnette worked as a session player for a large and eclectic list of artists during his over four-decade career. His credits include recordings for artists from Taylor Swift and Etta James to John Tesh, Riders in the Sky, Eric Darken, John Wesley Harding, Cletus T. Judd, and many more. In 2012 Burnette was the executive producer for the 2012 release Lowe Country: The Songs of Nick Lowe. He also contributed guitars and keyboards to the project.
Songwriter and artist Erin Enderlin posted online about working with Burnette.
“I heard that my friend and awesome guitar player Gary Burnette passed away recently. I just had to give a shout-out, because Whiskeytown Crier and Faulkner County wouldn’t be the albums that they are without him. I’m also thankful for Gary asking me to be part of a super rad Nick Lowe tribute project that he did. An incredible talent and a super sweet guy. Rest well, Gary.”
Fellow guitarist Michael Spriggs talked about his friendship with Burnette.
“Besides being one of my closest friends, Gary Burnette was one of the most tasteful and inventive guitarists I’ve ever worked with. An absolute joy in the studio with a full measure of humor, insight and moreover wisdom without end. No one will ever forget his amazing smile and welcoming disposition, a genuine gentleman that defined “hip,” panache and style to the nth degree in everything he did. I have two of Gary’s guitars. Like him they are treasures. I was fortunate and privileged to call him my friend. RIP Gary Burnette. Oh — one other thing — he used to call me Lloyd, his moniker for my nickname Lord Sprigglington. I couldn’t tell you how many times I’d seen that written in pencil on my music stand :))).”
Burnette was preceded in death by his parents. Survivors include his wife of 38 years, Rosanna Pierce; one brother, David Burnette, two nephews, and his cat Newman.
Donations may be made in his memory to the Nashville Musicians Association Funeral Benefit Fund or Crisis Assistance Fund, or MusiCares.
“Gary Burnette was one of the most tasteful and inventive guitarists I’ve ever worked with. An absolute joy in the studio with a full measure of humor, insight and moreover wisdom without end.” — Michael Spriggs
continued on page 30
PATRICIA LEE GUNTER
Oct. 27, 1952 – Nov. 6, 2023
Bassoonist Patricia Lee Gunter, 71, died Nov. 6, 2023. She was a life member of the Nashville Musicians Association who joined Local 257 June 6, 1979.
She was born Oct. 27, 1952, in Oak Ridge, Tennessee, to Clarence and Margaret Gunter. Her best friend’s mother was the local minister’s wife and a piano teacher, which led Gunter to start her musical journey with the piano. After the family moved to St. Louis and she lost access to a piano, she discovered the bassoon, after a brief dalliance with the flute. Following her graduation from Ritenour High School in St. Louis, Missouri, she completed degrees at the University of MissouriKansas City and University of Indiana in Bassoon Performance.
After graduate school, Gunter moved to Nashville and auditioned for the Nashville Symphony Orchestra. She won the position, and went on to play bassoon and contrabassoon with the NSO for 22 years. She also taught bassoon at Belmont and Tennessee State Universities and privately. After her work with the NSO, she played with regional orchestras in Jackson, Tennessee; Richmond, Indiana; Huntsville, Alabama; and Bowling Green, Kentucky. She was a member of the Nashville Double Reed Ensemble, the founder of the quintet Bassoonery, and a member of several other woodwind quintets. She was also a longtime member of the choir and congregation of East End United Methodist Church.
An accident at age 28 that left Gunter in a wheelchair didn’t stop her from living what family said was a “rich and independent life filled with music, kindness, and love,” which inspired many of her students to continue musical careers. In addition to her musical talent, she was known for her loyalty and compassion.
She was preceded in death by her parents; and one brother, William Lee Gunter. Survivors include her husband of 43 years, David Hall Criner; two sons, William Thomas Criner and Austin Gunter Criner; three sisters, Lauralee Gunter, Lee Anne Gunter, and Lee Ellen Gunter; and many nieces and nephews.
Funeral services were held Nov. 18 at Calvary United Methodist Church, and presided over by Rev. Brandon Baxter from EEUMC.
Donations can be made to a favorite charity, EEUMC, Bonaparte’s Retreat, Alive, or Vanderbilt Children’s Hospital.
WILLIAM L. “OZZY” OSMENT
Oct. 10, 1952 – March 5, 2024
Fiddle player William L. “Ozzy” Osment, 71, died March 5, 2024. He was a life member of the Nashville Musicians Association who joined Local 257 Feb. 13, 1978.
Osment was born Oct. 10, 1952, in Nashville. He attended Cumberland High School. Over his musical career he played fiddle for many artists, first working with Tom T. Hall. He also played with Faron Young, Brenda Lee, Ed Bruce, and Kenny Chesney. More recently,
he worked with musician-songwriter
Joe Rucker, and was also active in the Reunion of Professional Entertainers (R.O.P.E.) organization.
Bassist Leon Watson talked about his friendship with Osment.
“I knew Ozzy from elementary school through high school and then we worked with Tom T. Hall together in the late ‘70s and early ‘80s.
There’s not a finer friend or fiddle player around. If he was your friend, he was your friend for life. I will miss you, Oz,” Watson said.
Survivors include his wife Karen “Boo Boo” Osment; one son, Jeffrey Osment; and one granddaughter.
A celebration of life was held March 9 at Hermitage Funeral Home.
ALICE “JUDY LEE” SCHREIBER
July 24, 1934 – March 20, 2024 Guitarist and singer Alice Lee Schreiber, 89, died March 20, 2024. She was a 69-year life member of the Nashville Musicians Association who joined Local 257 Feb. 8, 1965.
She was born July 24, 1934, in St. Marys, Pennsylvania. In the early ‘60s she took the stage name Judy Lee, and joined a girl band called the Rhythm Queens fronted by Betty Amos. The group signed with Starday Records in 1964, and became known as Betty Amos with Judy and Jean. Their first single was a bluegrass tune, “Eighteen Wheels a Rolling.” The group was a regular act for a decade at the WWVA Jamboree, and released nine more singles on Starday. Schreiber and the group performed widely throughout the country, including many appearances on the Grand Ole Opry.
In a 2014 YouTube video, the Amos trio reunited and sang Amos’ tune “Second Fiddle (To an Old Guitar)” which was a hit for Jean Shepard. The recording is well worth a listen, and includes some choice electric guitar playing from Schreiber, and her yodeling duet with Amos.
Schreiber was not only a talented professional musician. In high school she played softball and was a pitcher for her team. Her interest in the sport never waned, and in 1994 she started playing senior softball in Hendersonville. After the team won the Tennessee Senior Games, she became even more involved. Schreiber started the USSSA Senior Women’s World Championship, and developed the tournament to 46 teams from all over the United States and Canada. She received many awards from the organization, and became the Softball Players Association’s national director for women’s softball. In 2008 she was inducted into the National Senior Softball Hall of Fame.
Ozzy Osment
(l-r) Judy Lee (Alice Schreiber), Betty Amos, Jean Amos International Country Music Conference
RONALD “RONNY” GOFF HUGHES
Sept. 17, 1950 – Nov. 22, 2023
Bassist, songwriter, and producer Ronald “Ronny” Goff Hughes, 73, died Nov. 22, 2023. He was a life member of the Nashville Musicians Association who joined the local March 11, 1969.
He was born Sept. 17, 1950, in Scotts Hill, Tennessee, to Fred and Melba Goff Hughes. As a teenager, he became lead singer and guitarist for The Prodigys, a local band which included his older brother Keith on drums and his friend Larry Johnson on keyboards. He also started a writing collaboration that would last for decades with another Scotts Hills resident, Tommy Vernon. Hughes graduated from Scotts Hill High School, and worked for a short time at a local plant that made refrigerators. But a few months later some of his songs found their way to Nashville with help from David Wilkins, and Hughes got a call to come to Music Row.
In an interview Hughes said he was stunned to walk into RCA Studio B and hear not one, but two of his songs being recorded — backto-back — by Eddy Arnold, and produced by one of his heroes, Chet Atkins. He gave up the factory job, and was able to study at Peabody School of Music at Vanderbilt University with funds from writing “My Dream,” and “Walkin’ In Love Land,” which became the title track to an album released by Arnold in 1968.
More cuts followed, with Hughes placing songs with Hank Williams Jr., Jimmy Dean, Jim Ed Brown, Little David Wilkins, Faron Young and other artists. He toured with Williams, Jerry Reed, Danny Davis and the Nashville Brass, and Porter Wagoner, and was also part of the Vic Willis Trio on the Grand Ole Opry. Other televised appearances included The Merv Griffin Show, The Dinah Shore Show, The Mike Douglas Show, several CMA Awards shows, as well as Hee Haw and other TNN programs. He also performed at inaugural galas and private events for Presidents Richard Nixon, Ronald Reagan, Gerald Ford, and Jimmy Carter.
In addition to his live performances, Hughes was a sought-after session player for a host of artists including Willie Nelson, Barbara Mandrell, Hank Williams Jr., Jerry Reed, Janie Fricke, and Mickey Gilley. Hughes was deeply religious, and enjoyed being a part of the worship team in many different churches, including Jenkins Cumberland Presbyterian Church, Christ Church Pentecostal, Christ Community Church, Epworth United Methodist Church, Harris Chapel United Methodist Church, and his final worship home at Riverside Fellowship in Franklin, Tennessee.
IN MEMORIAM
He was preceded in death by his parents; and two brothers, Bobby and Keith Hughes. Survivors include his wife, Pat Tyler Hughes; one brother, Rick; two daughters, Ami and Julie; one son, Brian; four grandchildren; and one great-grandchild.
A celebration of life was held Jan. 13 at the Williamson Memorial Funeral Home in Franklin, Tennessee. The family kindly requests that charitable contributions be made to St. Jude Children’s Hospital.
ARTHUR E. RICH
May 14, 1965 – Feb. 24, 2024
Arthur E. Rich III, 58, died Feb. 24, 2024. He was a production manager who joined Local 257 Oct. 15, 2018.
He was born in Milwaukee, Wisconsin, May 14, 1965, to Arthur and Ilsa Rich, and was the eldest of three children. Rich loved live performance from an early age and began to study theater design in college. He started his professional career in Atlanta, Georgia, and worked on the 1996-97 Michael Jackson HIStory tour. More tours as a lighting designer and lighting production crew member followed. In 2009 Rich joined the Keith Urban organization as stage manager; in 2010 he was the production manager for the Judds, a role he later said was his favorite position on a tour. A variety of tours followed, and after 15 years in Illinois, Rich and his family moved to Nashville in 2014.
One of his most recent projects was the 2023 Voices of America Country Music Festival. Rich was said by friends to be a caring coworker, enjoying the connections and interactions of touring, and devoted to always bringing his strong ethics to his team.
Rich had a variety of other interests and hobbies. He was drawn to many kinds of water sports including scuba diving, snorkeling, and boating. He also enjoyed entertaining, and was a “foodie” with great culinary skill.
His Christian faith was an integral part of his life; he was on the lead team at King & City Church in Mt. Juliet, Tennessee, until shortly before his death. Family said “Art loved God’s church and God’s people and had a way of improving existing practices and helping to create next level experiences.” Rich was very devoted to his family, and enjoyed spending time with his wife and children, always taking a great interest in their lives.
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.
Survivors include his wife, Lisa; one daughter, Zandra; and one son, Lucas. A celebration of life was held March 1 at Hermitage Funeral Home in Old Hickory. Memorial donations may be made to MusiCares; the family wishes to thank the organization for their help during Rich’s illness. TNM
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)
• 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
TNM
If you have a problem with an employer, whether it’s nonpayment, slow payment, failure to sign a signatory agreement, or another issue — let us know.
