The Nashville Musician — October - December 2023

RE V IE WS: BUDDY A ND JULIE MILLE R

OF F ICI AL JOURN AL OF AF M LOCAL 257 OC TOBE R – DECE MBE R 2023

Membership and nomination meetings NOV. 14 Zoom/In person 5:30 p.m.

Kris Wilkinson

Life Inside the Song

OCTOBER – DECEMBER 2023 1

2 THE NASHVILLE MUSICIAN

CONTENTS Official Journal of the Nashville Musicians Association, AFM Local 257 | OCTOBER — DECEMBER 2023

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ANNOUNCEMENTS Details on the upcoming member meeting Tuesday, Nov. 14, on Zoom and in person at Local 257, which will include a vote to approve 2024 annual dues, and a nomination meeting for Local 257 elections. Also in the section, minutes from executive board and member meetings.

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STATE OF THE LOCAL Dave Pomeroy talks about how Local 257 is positioned for the future, and how you can help grow our union.

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BETWEEN THE NOTES Secretary-Treasurer Will Barrow talks about the power of giving back.

8

NEWS Updates on flying with your musical instrument, downtown musician issues, and our second fundraiser event.

10 RECORDING Good advice and tips from our hardworking recording department.

12 HEARD ON THE GRAPEVINE

The comings and goings of Local 257 members.

14 GALLERY We recognize member milestones as well as other

RECORDING

MIKE BRIGNARDELLO, MICHAEL SPRIGGS AND STEVE HINSON

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KRIS WILKINSON

events and honors.

18 COVER STORY: KRIS WILKINSON Warren Denney talks to the multi-talented violist, composer, and string arranger about the winding road that led to Nashville, and finding a niche inside the heart of a song.

24 REVIEWS Roy Montana reviews In the Throes by Buddy and

Julie Miller, a 12-song journey through the twists and turns of a life and love, seen through a creative couple’s lens.

26 AFM & SAG-AFTRA The Fund celebrates 25 years of

paying musicians and vocalists. Guest column by Rob Putnam.

24 REVIEWS

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

28 FINAL NOTES We bid farewell to Jesse McReynolds,

Deborah Loach, Harold Blair, Victor Clay, and James “JD” Walters.

32 FINANCIALS 33 MEMBER STATUS

BUDDY & JULIE MILLER

34 DO NOT WORK FOR LIST

OCTOBER – DECEMBER 2023 3

ANNOUNCEMENTS

OFFICIAL QUARTERLY JOURNAL OF THE NASHVILLE MUSICIANS ASSOCIATION AFM LOCAL 257

PUBLISHER EDITOR MANAGING EDITOR ASSISTANT EDITOR CONTRIBUTING WRITERS

CONTRIBUTING PHOTOGRAPHERS

ART DIRECTION WEB ADMINISTRATOR AD SALES LOCAL 257 OFFICERS PRESIDENT SECRETARY-TREASURER EXECUTIVE BOARD

EXECUTIVE BOARD ALTERNATES HEARING BOARD

TRUSTEES

SERGEANT AT ARMS

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 Rich Eckhardt Casey Brefka Michele Voan Capps Tiger Fitzhugh Teresa Hargrove Kent Goodson Sarah Martin McConnell Dave Moody Paul Ossola Bruce Radek Biff Watson Steve Tveit

NASHVILLE SYMPHONY STEWARD

Melinda Whitley

OFFICE MANAGER

Savannah Ritchie

ELECTRONIC MEDIA SERVICES DIRECTOR RECORDING/ELECTRONIC MEDIA

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

Billy Lynn

Paige Conners William Sansbury Cassandra Tormes Zoe Willott Leslie Barr

Michael Minton

@2023 Nashville Musicians Association P.O. Box 120399, Nashville TN 37212 All rights reserved. nashvillemusicians.org

4 THE NASHVILLE MUSICIAN

The next Local 257 General Membership Meeting will be Tuesday, Nov. 14, 2023, at 5:30 p.m. The meeting will be in a hybrid format, both in person at Local 257 and remotely via the Zoom teleconference platform. Please plan to join the virtual meeting a few minutes early. The main item on the agenda is approval of the 2024 Annual Dues amounts for regular and life members. This proposal raises the dues by $12, the first raise in 6 years.

2024 DUES PROPOSAL (TO BE APPROVED BY MEMBERSHIP AT NOV. 14 MEETING) $170.00....................Local Dues (Life member Local Dues $70) 66.00....................AFM Per Capita (Life member AFM Per Cap $50.00) 54.00....................Funeral Benefit Assessment 3.00....................Emergency Relief Fund 3.00....................Emergency Relief Fund (voluntary)* 2.00....................AFM Tempo Fund (voluntary)* $298.00..................Total 2024 Dues Regular Members (including $5 voluntary) $182.00..................Total 2024 Dues Life Members (including $5 voluntary) Executive Board recommendation: Favorable (Unanimous) *We respectfully request the additional $5 voluntary contribution, which is distributed as $2 to the Emergency Relief Fund, and $3 to the AFM Tempo Legislative Fund. This is a great help to us.

Immediately following the general membership meeting, a special nominating meeting will take place. Nominations will be taken for: President, Secretary-Treasurer, Executive Board (seven positions), Hearing Board (seven positions), Trustees (two positions) and Sergeant at Arms. Following the nominations, an Election Committee will be elected by the members present. Ballots will be sent to all Local 257 members in good standing, and the votes will be counted no more than 30 days after the nominating meeting. We urge all Local 257 members to attend, and to consider running for office if so moved. Please note the applicable election Bylaws below: From our Bylaws: Article XV, Section 2: “The term of office for all elected officials shall be three years.” Article XV, Section 5: “An Election Committee of five members and two alternates shall be elected by the membership after nominations are complete.”

Also from our Bylaws, Article XV, Section 3: “To be eligible for nomination, a member must be in good standing and have held full membership in the Association for not less than twelve (12) months prior to the election, and during that said period shall not have been found guilty of the violation of any of the Bylaws.” Article XV, Section 4: “To nominate a member who is not present, the member nominating such member must present a signed statement stating his/her willingness to accept the nomination.”

Our complete Bylaws are viewable online at www. nashvillemusicians.org. Article XV deals with Elections.

HOLIDAYS FRIDAY, NOV. 10 | VETERANS DAY NOON NOV. 22 — FRIDAY, NOV. 24 | THANKSGIVING MONDAY, DEC. 18, 2023 — MONDAY, JAN. 2, 2024 | HOLIDAY BREAK MONDAY, JAN. 15, 2024 | MARTIN LUTHER KING JR. DAY

Nashville Musicians Association AFM Local 257, AFL-CIO Minutes of the 3rd Quarter Hybrid Zoom/Live Membership Meeting Aug. 17, 2023 PRESENT:

Michelle Poe, Tom Shed, Richard Wineland, Regina McCrary, Mark Dorminy, Lee Armstrong Wineland, Sunny Dada, John Root, Joe Farris, Harry Wilkinson, Chris Carmichael, Marcela Pinilla, Dave Martin, John England, Steve Lupo, Matt Bridges, Tony Migliori, Bruce Radek, Lacy Rostyack, Nicholas Gold, Clifford Koufman

EXECUTIVE BOARD PRESENT:

Jonathan Yudkin, Steve Sheehan, Jerry Kimbrough, Rich Eckhardt (alt)

HEARING BOARD PRESENT: Kent Goodson, Teresa Hargrove

PARLIAMENTARIAN: Steve Tveit (sergeant at arms) substituting for absent parliamentarian Bill Wiggins OFFICERS PRESENT: Dave Pomeroy, Will Barrow

President Pomeroy called meeting to order at 5:40 p.m.

Minutes from May 23, 2023, membership meeting were displayed and discussed.

PRESIDENT’S REPORT: The 102nd AFM convention was held in Las

Vegas in late June, with Will Barrow, Laura Ross, Tom Wild and Tiger Fitzhugh representing Local 257. AFM Local 257 President Dave Pomeroy was in attendance as an AFM International Executive Board member.

There was a major leadership shift as AFM President Ray Hair, Vice President Bruce Fife and AFM Secretary-Treasurer Jay Blumenthal stepped down, and new officers were elected:

Tino Gagliardi, president, Dave Pomeroy, vice president, and Ken Shirk, secretary-treasurer.

Pomeroy clarified what his new duties as International Vice President would be, and that he would continue his normal duties as president of Local 257.

We strongly support the ongoing SAG-AFTRA strike and are attending rallies and events connected to it.

We will be developing an orientation program for new members, in accordance with the new AFM Bylaw passed by the convention.

We are hoping to find ways to keep the 2024 dues from going up because of the increased payout of the Funeral Benefit Fund. Last year, we moved some funds from the Emergency Relief Fund, but we want to avoid that if at all possible.

We are exploring all options.

The “Honky Tonk School,”aka Tootsie’s operating on lower Broadway, has been found to be using bogus AFM contracts to hire and make money off of Canadian musicians, and is taking a portion of tips from musicians working in clubs affiliated with this so-called school.

We negotiated a pay increase which doubles the rate for most musicians playing at the CMA festival, so that all will receive the same pay.

There will no longer be a separate leader scale.

All will receive what was formerly leader scale.

SECRETARY-TREASURER REPORT Membership, 3rd Quarter (generated 08/17/2023) New Members: 23 Reinstated: 12 Total Additions: 35 Suspended: 0 Expelled: 6 Resigned: 5 Deceased: 4 Total Reductions: 15

CANDIDATE BIOGRAPHIES FOR 2024 ELECTION The election packet mailed to all members in good standing of Local 257 will include biographies of all candidates who wish to submit them, so the members may make a more informed decision when voting for officers.

The biographies will be limited to up to 250 words. A photo may be included, if desired.

The deadline for submission of biographies will be determined and announced by the chair of the Election Committee to the candidates.

ANNOUNCEMENTS Active Life Members: 703 Active Regular Members: 1322 Payment Plan Members: 51 Youth: 2 Student: 1 Total Membership: 2079 Member Deaths YTD: 13 Account totals were read, and are detailed on page 32 of this issue.

There is a new addition to Local 257 staff. Zoe Willott has joined the team in the recording department.

Local 257 rehearsal discussion The hall is staying very busy. Some folks reserving time in the hall have been no-shows, without notifying the local. If you need to cancel, please call ASAP so that others may reserve the hall. Also, there are a number of music stands missing, and there is a request that members return them.

Wednesday workshops discussion in the rehearsal hall continue to go well. On World Music Nights, since the last meeting we’ve featured Afro-Cuban and Nigerian music, and an evening of French songs. In the coming months on every second Wednesday, we’ll have an interactive intro to samba drumming on Sept. 13 with John Arrucci, the Yeli Ensemble from West Africa Oct. 11, and the Latina music of Amigas Power Nov. 8, featuring new members Marcela Pinilla and Rachel Rodriguez. There was also discussion on developing ideas for new workshops on the business of music, career development, music placement, etc. Any input and help with this is appreciated.

Open discussion Topics that were brought up included the large amount of outstanding overdue work dues by members, and the recent Honky Tonk School “contract” controversy on Broadway. We also discussed the many examples of the longstanding intellectual property value of working under union contracts that can result in payments decades after the original work was done, and the need for members to reach out to nonmembers and build our membership. Our fourth quarter membership drive will help do that.

Motion to adjourn by Jerry Kimbrough, Seconded by Tony Migliore Meeting adjourned at 6:33 p.m.

TNM

OCTOBER – DECEMBER 2023 5

STATE OF THE LOCAL

BY DAVE POMEROY

It

seems a little hard to believe, but I am nearing the end of my fifth three-year term as your Local 257 president.

I remain honored to serve the members of this organization that was a game changer for me when I came to Nashville to pursue a career as a professional musician. I’m proud to say that our teamwork and commitment to promoting respect has helped put Nashville and Local 257 on the cutting edge of the AFM and the music business.

We have developed innovative recording agreements such as the Single Song Overdub Scale that gives you the ability to pay into your own pension. We are still landing lots of Limited Pressing and Low Budget Master sessions with a wide variety of labels of all sizes. We are getting our members gigs through the Music Performance Trust Fund and our AFM 257 Entertainment booking service, and our partnerships with Music for Seniors, Cheekwood and others help build our community involvement. Engagement with our labor allies the Writer’s Guild, SAG-AFTRA, and the Tennessee AFLCIO and Central Labor Council strengthens all of our voices and our common causes.

Blow the whistle

When you bring a problem to our attention, such as your studio tracks being used onstage, rest assured we are NOT going to throw you under the bus for being honest, and letting us know what’s going on. That has happened to me in the past, and I refuse to do it to anyone else — and neither will our staff. When I speak to employers about an issue that has been raised, I NEVER reveal names or my source of information. If I did, no one would be honest with me. Here’s an important point - we need your help in identifying problems early on, as it is always harder to chase them down 6 THE NASHVILLE MUSICIAN

Stronger together after the fact. In particular, Tracks on Tour is one area where the sooner we know about the use of studio tracks, the sooner we can bill for it, and get you paid.

Membership drive

We started a membership drive Oct. 1 that will continue until we break for the holidays.

We are waiving all initiation and/or reinstatement fees for those who are joining for the first time, or coming back into the fold. Whether you are a symphony member, studio player, a club or touring musician, or a combination, being a member of the AFM gives you a voice, an advocate and access to the only system in existence that can maximize your earning potential as a creative worker. We have developed a comprehensive set of benefits that range from discounts on phone service, car and truck rental discounts, to a variety of insurance options, including excellent instrument insurance and our exclusive Blue Cross Blue Shield medical insurance plan. As a member, we know you “get it,” so please help us and reach out to your peers and colleagues who haven’t yet joined the only organization looking out for musicians — the AFM. Sometimes all it takes is asking. Thanks in advance for your help.

Precious memories

This past week, I went to three memorial services in four days, which was emotionally draining to say the least. Michael Rhodes, Dave Roe, and Mike Henderson were all good friends of mine I had known for decades. It is hard to lose those you love, but ultimately, it is a reminder to treasure every day we are given, and do our best to make a difference in this world. All three of those men did exactly that, as did my friend and hero Charlie Strobel, founder of Room in the Inn, who also passed earlier this year. Our second annual For Those We Lost concert Oct. 17 honored Jesse McReynolds, Loretta Lynn, and Jimmy Buffett, all Local 257

members who passed in the last year. The much-needed funds raised will help keep our Funeral Benefit Fund in place, which is one of the last of its kind still remaining in the AFM. Any help you can give in our fundraising efforts for the Funeral Benefit Fund will be greatly appreciated by all of us.

The future is now

AFM Local 257 has been looking out for musicians for 121 years, and we are stronger than ever. We have made a difference by standing up for our rights as workers and creators of intellectual property. Even in a right-to-work (for less) state like Tennessee, we have an amazing level of voluntary compliance by employers who understand that respect for musicians benefits both sides.

Passage of the American Music Fairness Act (AMFA) in Washington, D.C., will be a game changer for U.S. recording musicians.

We need to convince lawmakers that American musicians deserve to have the same AM/FM airplay rights as every other developed country in the world, except China, North Korea, and Iran, has had for decades.

Passage of the AMFA will free up hundreds of millions of dollars in overseas money for our members who play on records heard around the world. This is a huge balance of trade issue that must be resolved.

We are stronger together, and there is no time like now to make sure that we increase our membership and consolidate the power that we have to use it for the greater good of us all. I urge you to stand up, get involved, invite your friends to join the team, make some good noise, and understand that we are all in this together. Nashville has a community of musicians unlike no other on earth, and we became Music City because, with only a few exceptions — see the Do Not Work For List on page 34 — employers and musicians treat each other with respect. I am proud of what we have accomplished by working together, and I’m ready to keep our TNM union moving into a bright future.

As musicians, should we give it away?

T

he above question came up in a recent conversation I had with a very prominent, accomplished member of our union. We respectfully came to different conclusions about when, if any time, it was prudent for musicians to play without compensation. Musicians should get paid for all the years of effort, dedication and sacrifice they bring when they play, right? And is it right for the union, in particular, to hold an event where musicians are playing without pay?

After all, the very reason the union came into existence is so that musicians, their time, expertise and experience, are rewarded in such a way that they can be paid fairly, and so that their intellectual and creative property will be protected for posterity.

It’s why the AFM was founded, in Nashville and beyond, and why most people have joined it throughout its history. There is little question as to whether we should be paid for playing or recording in settings where a profit is being made, or conversely, when people are engaging us to play or record for their edification, entertainment or the potential career advancement of those engaging us. But there are times when we have, or we create, an opportunity to play for an important cause or audience that isn’t funded by a business, group or private person. And sometimes these opportunities serve the greater good in significant ways. As long as the musician is in no way being exploited — though that can be a subjective judgement — I believe musicians can and should give something back.

Full-on benefit concerts where all proceeds go to the beneficiary, cause or organization are generally done by musicians and artists without compensation. Because we have a big heart as a community and an enormous wealth of talent, Nashville might have more benefits per capita than anywhere.

A wonderful example is the annual holiday Room in the Inn fundraiser that Dave Pomeroy started many years ago, with the founder of that important organization, Rev. Charlie Strobel, who we lost and honored recently.

Charlie’s entire existence was dedicated to helping the homeless, serving the underserved and benefitting the greater good.

He was a priest and homeless advocate by vocation and calling, and we are musicians.

But aren’t we musicans here for a noble purpose also, in addition to being musicians by trade and for our own edification? Everybody has their own answer to this question, but I believe it’s an important one to ponder. If the answer is yes, then that leads to the question, HOW do we best serve that purpose? Each of us has our own unique creativity, individuality and particular talents and expertise. At Local 257, we would love to have everyone who is interested in doing so be involved in some way with the events we present, and with those we hope to create and present in the near future.

It’s an invitation to give something back.

“What can I do for fellow musicians, our union and the greater community, utilizing my particular talent and abilities? And because music has given and continues to give so much to us, how can we give something back?”

Our union has been presenting free workshops, classes and music events at the AFM rehearsal hall on Wednesday nights for the past year. The presenters are mostly Local 257 members, and some are members of the local or global community at large. They are inspiring, educating and delighting the general public, as well as our members. These members (and most of the non-members) presenting workshops are doing these events without compensation, because they believe in sharing the joy of music. Sometimes those in attendance are folks who can’t afford to go to a club or concert venue, or to enroll in music classes at a school, and may not have had an opportunity to experience and learn about the variety of global music that’s played, sung and taught in our hall at these events.

These events, and others we want to develop, serve to create more value for

BETWEEN THE NOTES

BY WILL BARROW members. We are becoming a younger and more diverse union, and the fact that musicians are willing to give of their time and talent helps move our reputation away from the purely transactional (pick up checks, pay work dues, pay annual dues once a year, etc.). This helps to make us known more as a place and an organization that serves to educate, enlighten and bring the joy of music to Music City.

We view our union as a community space. We host a weekly AA meeting in our hall. We invite everyone to our workshops, and do much for all musicians — particularly, but not only, our members. Since the members own our union, membership makes us all a part of what we give to the community and each other with these events.

“What can the union do for me?” is an important question, and we are always looking for ways to do more for our members. Because we are all in this together, and are a brother and sisterhood, the following questions are also important: What can I do for fellow musicians, our union and the greater community, utilizing my particular talent and abilities? And because music has given and continues to give so much to us, how can we give something back?

As we develop new concepts for workshops, educational offerings and musical events, we welcome input and potential involvement from our members and nonmembers. We are especially interested in forums that would present practical ideas about career advancement, booking gigs, placing original music in film and TV, using technology and the internet, and other things that help musicians to thrive economically and artistically. Please contact me (willb@nashvillemusicians.org) if you want to share your ideas and interest.

Thanks for all you do to bring music into a world that so needs it!

TNM

OCTOBER – DECEMBER 2023 7

NEWS

MUSICIAN UPDATES Parking

The new NDOT (Nashville Department of Transportation) has good intentions, but has inadvertently created more problems for musicians who work clubs around town. All post-6 p.m. free parking has gone away — which is not good — and they have removed all the meters.

Another issue is the inability to refill the digital meters without moving your car to another parking zone. “We have had several intense but productive meetings with NDOT, club owners, and musicians, and have convinced them to make some modifications to the new plan, especially in the Gulch area, but it is still a work in progress. We will continue to work with NDOT and the new mayoral administration to improve the logistics of parking and loading for musicians,” said Local 257 President Dave Pomeroy. Local 257 still has a 60 percent discount in place for two Premier Parking garages, McKendree Garage at 6th & Commerce, and One Nashville Place at 4th & Commerce.

Please come by the local and pick up your reusable Premier QR code to take advantage of the 60 percent off. This benefit alone can pay the cost of annual AFM Local 257 membership.

“We have had several intense but productive meetings with NDOT, club owners, and musicians, and have convinced them to make some modifications to the new plan.”

8 THE NASHVILLE MUSICIAN

Enforcement/Metro presence

NDOT is also responsible for the enforcement of the new regulations.

This has not been without its problems either, so it is important that you contact the local if you are having issues with NDOT “enforcers,” so we can report back to them and try to fix the problem, whatever it may be. “We already have a good relationship and direct line of communication with the new mayor, Freddie O’Connell, and are cautiously optimistic that we can alleviate some of the problems we are having getting musicians, and local music fans as well, in and out of downtown without major problems,” Pomeroy said.

Fake contracts

After much public outcry and some timely coverage from numerous media outlets, it appears the bogus “contracts” that at least one Lower Broadway venue was using as a money grab have been discontinued. Any musician who is confronted with a similar situation is urged to contact Local 257. Work for Hire documents are also being given to our members incorrectly by employers who still don’t understand that if you are working under a legitimate AFM contract, the work you are doing is a Work for Hire. No additional documentation that asks you to give away things employers have no right to ask for is required — or legally binding. “If you think someone is pulling something over on you, they probably are. It is our pleasure and responsibility to educate those who don’t understand the rights that musicians should have, especially in a place that calls itself Music City,” Pomeroy said.

NEWS

New scanners create TSA slowdown Musicians who plan on carrying instruments into the cabin on upcoming flights should allow extra time for TSA check in. New scanners being installed at airports across the country are smaller than previous models, which is slowing down the process for musicians with instruments. If your instrument doesn’t fit in the provided container to go through the scanner — and most don’t — it will need to be checked by TSA workers, who will open and inspect the case and contents thoroughly.

This new wrinkle in the security check-in should not impede your ability to bring your instrument onboard, as long as there are overhead bins large enough to accommodate your instrument. The law that allows instruments as carry-on luggage has not changed. For more information and details on the process, you can read the 2014 law that permits carry-on instruments, and tips for making your trip easier at the Local 257 website — www.nashvillemusicians.org

Funeral benefit fundraiser - You can still help At press time Local 257 was preparing for the second annual For Those We Lost fundraiser set for Oct. 17 at 3rd & Lindsley. The event raises money for the local’s funeral benefit fund, one of only a few of its kind that remain in the AFM. Local 257 lost many more members than usual during the first three years of the COVID-19 pandemic. The concert helps to both pay tribute to some of the iconic musicians we have lost in the past 12 months, and strengthen the fund for the future. You can still help the cause by posting the

link to the Paypal donation page (QR code shown below) on your social media. “Our funeral benefit fund has been a great help to many beneficiaries over the decades and we are committed to keeping the fund healthy in the coming years,” said AFM Local 257 President Dave Pomeroy.

Paypal link to donate to the AFM Funeral Benefit Fund:

OCTOBER – DECEMBER 2023 9

RECORDING

Helpful reminders from your Local 257 Recording Department Finish the job with a signed AFM agreement:

Even if you are signing a time card at a session, it is essential that the appropriate AFM Employer Agreement must also be signed by the company or individual that actually owns the music, in order for musicians to get their pension contribution credited to their account. It helps to make sure that someone is taking care of that at the time of the session, and remind them that all our signatory agreements can be found online at www.nashvillemusicians.org.

have an obligation to pay the musicians under the appropriate AFM contract. If you are a solo artist or part of a co-op band, you can use the AFM Joint Venture agreement to document the percentage split among band members, and protect your work without hiring a lawyer.

One check can do it all:

For employers who simply want to write one check for a project and not have to file any tax documents, the 257 Special Payroll Account is the way to go. A single check or wire transfer payable to AFM Local 257 allows employers to make one payment for all session musicians, including pension. We write the checks and handle all the tax paperwork. There is a 3 percent processing fee and 7.65 percent added for Social Security taxes and Medicare, all of which we take care of with the single payment by the employer. The 257 Special Payroll Account can be used for any type of AFM agreement.

Protect your own recording:

Many of us record our own music, either solo or with a band, in addition to working for others. Putting your project on an AFM contract protects everyone involved, and allows us to help you.

If it gets picked up by a label, or used in TV, film, or commercials — aka New Use — any legitimate licensing company knows they

10 THE NASHVILLE MUSICIAN

Local 257 Recording Staff Members Local 257 staff members are ready to help you with your questions about recording and electronic media. Call them or stop by Monday through Friday 9-4. (l-r) William Sansbury, Cassandra Tormes, Zoe Willott, Paige Conners, and Director of Recording and Electronic Media Billy Lynn.

Honored to serve America's Music Professionals with insurance & healthcare advocacy for over 16 years.

The preeminent resource to optimal healthcare solutions for the entire entertainment industry.

OOfering UNPRECEDENTED TRUE GROUP BENEFITS exclusively through Sound Healthcare & Financial.

A proud partner of the Nashville Musicians Association, AFM Local 257.

TNM

OCTOBER – DECEMBER 2023 11

HEARD ON THE GRAPEVINE

Sam Bush inducted into the International Bluegrass Hall of Fame

Sam Bush

Multi-instrumentalist extraordinaire Sam Bush was inducted as a solo artist into the International Bluegrass Hall of Fame, along with Wilma Cooper and David Grisman, at the organization’s annual awards ceremony.

The Sept. 28 ceremony was part of the two-day IBMA World of Bluegrass event held in Raleigh, North Carolina. This makes Bush’s second IBMA Hall of Fame induction — he and his New Grass Revival bandmates were part of the 2020 class.

Bush also took home an award for the Industry Liner Notes of the Year for the album Radio John: The Songs of John Hartford!

NASHVILLE SONGWRITERS HALL OF FAME

Keith Urban

David Lee Murphy

Kix Brooks

Local 257 members Keith Urban, David Lee Murphy and Kix Brooks were inducted into the Nashville Songwriters Hall of Fame at the organization’s annual gala, Oct. 11, at the Music City Center. John

Jarrard, Rafe Van Hoy and Casey Beathard were also part of the 2023 class. The group joins the 235 existing members of the Hall of Fame, which was established in 1970 by the Nashville Songwriters

Foundation, Inc. A nonprofit organization, its objective is to honor and preserve the songwriting legacy that is uniquely associated with the music community in the city of Nashville.

CANDIDATE BIOGRAPHIES FOR 2024 ELECTION 12 THE NASHVILLE MUSICIAN

The election packet mailed to all members in good standing of Local 257 will include biographies of all candidates who wish to submit them, so the members may make a more informed decision when voting for officers.

The biographies will be limited to up to 250 words. A photo may be included, if desired.

The deadline for submission of biographies will be determined and announced by the chair of the Election Committee to the candidates.

HEARD ON THE GRAPEVINE

Geoff Sprung, Trevor Rosen, Brad Tursi, Matt Ramsey, Whit Sellers

OLD DOMINION

“This event stands as a powerful testament to the unwavering strength of Nashville’s country music community, friends, neighbors, and especially parents.” — Houston Phillips

Local 257 members Old Dominion, along with other artists, came together Aug. 7 at the Grand Ole Opry to honor victims and families affected by the tragic Covenant School shooting last March. “A Covenant Knight” benefit concert was hosted by radio personality Storme Warren, and raised over $500,000 for the Covenant School Community Fund, which provides mental health support for students, staff, and family members.

“This event stands as a powerful testament to the unwavering strength of Nashville’s country music community, friends, neighbors, and especially parents. I was truly moved by the inherent goodness of those who offered support, no questions asked, as we worked to create an event that would lift up our community and contribute to Covenant School’s ongoing recovery efforts,” said coproducer Houston Phillips. TNM

TNM

OCTOBER – DECEMBER 2023 13

GALLERY

16th Annual ACM Honors Chris Stapleton

Mark Hill

Local 257 musicians took home a number of awards at the 16th Annual 2023 ACM Honors show Aug. 23 at the Ryman Auditorium.

Chris Stapleton received the prestigious ACM Triple Crown award, given to an artist who has previously won ACM New Male Vocalist, Male Vocalist, and Entertainer of the Year.

ACM Studio Recording Award winners included drummer Aaron Sterling, acoustic guitarist Tim Galloway, electric guitarist Derek Wells, piano/keyboardist Dave Cohen, fiddle player Jenee Fleenor for specialty instrument, bassist Mark Hill, and producer Jay Joyce.

To be eligible for these awards, creators must have played a part in a commercially released single or album embodying the creator’s performance that achieves top 20 chart position or better during the eligibility period.

Aaron Sterling

Tim Galloway

Dave Cohen Jay Joyce

14 THE NASHVILLE MUSICIAN

Jenee Fleenor

Derek Wells

Local 257 brings the beat to the Nashville Labor Day Parade

Local 257 jazzed up the annual Labor Day parade with a little help from our some of our fine members. (l-r) Daniel Bey Dearing, Sam Levine, Dave Pomeroy, Marty Crum, Joe Getsi, Will Barrow, Bernie Walters, and Walter Hartman

AFM leadership brain trust

Dave Pomeroy and AFM President Tino Gagliardi spent some time consulting with Albert Einstein in Milwaukee at the ICSOM Conference.

Nashville Symphony

Nashville Symphony bass section on opening night, Sept. 9. (l-r) John Pellegrino, Tim Pearson, Kate Munagian, Evan Bish, Kevin Jablonski, Matt Abramo, and Joel Reist

GALLERY

Harvest Sunday Jazz Series

The Sofia Goodman Quartet kicked off the Harvest Sunday Jazz Series Sept. 17 at Cheekwood. (l-r) Keyboardist Mark Twaddle, bassist Rob Linton, drummer Goodman and Jakob Martin on tenor sax

NEW PIN

New Local 257 member drummer/ percussionist Larry Aberman received his 25-year pin after 38 years of AFM membership and a 16-year stint in Las Vegas with Cirque du Soleil. He has also worked with Nile Rogers, Joe Sample, Stevie Ray and Jimmie Vaughan. "I'm very grateful to be here and for the warm welcome I've received from fellow musicians," Aberman said. continued on page 16 OCTOBER – DECEMBER 2023 15

GALLERY

continued from page 15

Local 257 at the Black Arts Bash Nashville Musicians Association members were tapped to perform at Cheekwood’s annual Black Arts Bash Aug 19. It was a glorious day full of music by the Rahsaan Barber Quintet, The McCrary Sisters, AfroKokoRoot and Charles ‘Wigg’ Walker.

1.

4.

2.

1. The McCrary Sisters rocked the crowd. (l-r) Keyboardist Kery Green, Ann McCrary, Regina McCrary, Alfreda McCrary, drummer Chip Vayenas, guitarist Craig Waters, and bassist Kenny Jackson.

2. (l-r) Rahsaan Barber, Roland Barber, Jon Rogerson, drummer Josh Hunt and bassist Brian Allen.

3. Rahsaan Barber on sax with Bruce Dudley on keys.

4. Guitarist Andy Reiss and drummer Pete Abbott and (not pictured) Charles Treadway on B-3 perform with legendary soul singer Charles ‘Wigg’ Walker.

5. Percussionist /vocalist Sunny Dada dances with his group AfroKokoRoot in a celebration of African music.

TNM

16 THE NASHVILLE MUSICIAN

3.

5.

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OCTOBER – DECEMBER 2023 17

Kris Wilkinson WHEREVER THE MUSIC LEADS

BY WARREN DENNEY 18 THE NASHVILLE MUSICIAN

F

or Kris Wilkinson, her life’s work is in the detail, the musical spaces that often bring a song or score to the whole.

She is a composer, arranger, and a painter of sound who synthesizes — or symphonizes — a project most often made for others, finding its final shape.

That work is about connectivity.

In her simplest form, Wilkinson plays viola, a classically trained musician who made her way to Nashville in the 1970s, and someone who, ironically, sprang here from far-flung country and bluegrass scenes.

She has played on thousands of recordings, and created musical arrangements for artists including Dolly Parton, Chris Stapleton, Alison Krauss, Martina McBride, Trisha Yearwood, Reba, Willie, George Jones, Steve Earle, Lionel Richie, Greta Van Fleet, Neil Young, Stevie Wonder, Linda Ronstadt, John Prine, Ricky Skaggs, Roy Wooten, Joan Baez, and countless others — a list as diverse as it is endless. Her CV as a musician, arranger, and composer reads like a Who’s Who of popular American music over the past five decades.

Wilkinson has done her time on the road, and performed live on countless major awards shows, including the MTV Video Awards, CMA Awards, and the Grammys.

continued on page 20

OCTOBER – DECEMBER 2023 19

when you consider her background, a multifaceted one that encompasses classical and country roots, it is no surprise she found a way to thrive here.

She cites many influences and counts among her Nashville mentors no less than Owen Bradley and Pete Drake. When you consider her background, a multi-faceted one that encompasses classical and country roots, it is no surprise she found a way to thrive here. She is an original artist in her own right, a musical chameleon of the highest order.

“I was born in San Francisco,” she said from her Nashville home recently. “But, we only lived there until I was maybe two, because my father was in [the military]. So, we moved around quite a bit, and by the time I was in maybe preschool or kindergarten, we ended up in Philadelphia. that’s where I grew up, in Philadelphia and New Jersey. Essentially, that’s where I consider myself from.”

Wilkinson started as a violinist when she was young, and studied under a member of the Philadelphia Orchestra until she attended Stanford, where she continued her classical training and studied music theory under John Chowning, best known for his development of digital implementation of FM synthesis and founder of the Center for Computer Research in Music and Acoustics.

Heady stuff. Obviously, she was on track to become a member of one of the first all-female bluegrass bands.

20 THE NASHVILLE MUSICIAN

“While I was out there [at Stanford], a big Western Swing scene was around,” she said. “It had nothing to do with Stanford, but there were a couple Air Force bases out there, and a couple groups of fiddle players. People would gather and meet and play fiddle. And I don’t know, I just fell in love with Western Swing.

“And, I used to go — I can’t even remember the name of the Air Force base — but there was a guy that had a band, and I’d go out there and play in his band. We’d play the dances there. Weekend nights. I barely remember that time in my life, but I was in college, and it was wonderful.”

Wilkinson cut her teeth in that scene, and while crucial to who she would become, it was fleeting. You drink water and move on.

“I learned a lot of country,” she said. “I couldn’t even get into those bars, so I had to have a fake ID. I was probably seventeen or eighteen years old, and I was still studying classical violin all along.

But, it was a pretty quick step from there to get into bluegrass, because I started learning the fiddle tunes. And, I really loved it — from the first minute I heard all that stuff.”

Though she had discovered another world, she decided to leave California and move back to Philadelphia, and her newfound love of

(l-r) Michael Clark, unknown, Kris Wilkinson

i started learning the fiddle tunes. and, i really loved it — from the first minute i heard all that stuff.” continued on page 22

OCTOBER – DECEMBER 2023 21

At the CMA awards

Kris and her husband Larry Paxton, bassist and longtime Local 257 member

bluegrass would ultimately lead her to Nashville. A classical composer would flip the switch.

“The band Buffalo Gals was already in existence when I first heard of them,” Wilkinson said. “A classical composer I knew, David Amram, told me about them. They were in Syracuse, and he told me they needed a fiddle player. I was ready to do something. Something like that. I moved to Syracuse and joined the band.”

Buffalo Gals is considered the first all-female bluegrass group, founded in 1972 by Syracuse students guitarist and songwriter Martha Trachtenberg, bassist Nancy Josephson, banjo player Susie Monick, Carol Siegel on mandolin, and fiddle player Sue Raines.

They were good, and certainly unique for the time. They caught the attention of festival organizer Carlton Haney according to Trachtenberg in an interview with No Depression in 2015 because of that novelty, but fans and critics soon recognized them for their progressive songwriting and approach. The band released one album, First Borne, in 1975, before Wilkinson joined them, replacing Raines.

The obvious pressures that accompanied the phenomenon meant Buffalo Gals would be short-lived.

“I was there in New York with them less than a year, and we moved down here,” Wilkinson said. “I think one thing we realized, and it’s one of the reasons why Nashville developed as a music town, is that it’s so central to the whole United States. If you’re touring and you’re up in Syracuse, you are headed south, no matter where you’re going. But, if you’re in Nashville, you just draw a big old circle around it. You’re more accessible to a lot of places.”

Though not immediately apparent, the move opened the world for Wilkinson.

“When I first came here, honestly, you can say leap of faith, but I just knew I belonged here,” Wilkinson said. “Actually, our band had played around here, and that’s when I first met Pete Drake. And I just knew it was the kind of environment — I don’t know how I knew, but I did. I knew this was what my destiny was. And, it was different then, too.

“I mean, you could get really cheap rent. And I will tell you, the people up in Philadelphia and all my classical music people were looking at me like, ‘Girl, you have lost it.’

Buffalo Gals toured incessantly, though they had little to show for it. She knew somehow if she could manage to create a life in the town, it might work.

22 THE NASHVILLE MUSICIAN

PHOTO BY DERRICK PIERCE

“This was in 1977 or ’78,” she said. “Every night Pete would have a gang of kids just hanging out at his studio. He was so awesome. He just showed us the ropes, basically. Pam Rose, Mary Ann Kennedy, Linda Hargrove — my dear friend who’s no longer with us — all of these people who used to hang out. I had been brought up trained classical, but I had given that up. And I was playing country fiddle for a living and with a bluegrass band. Pete would show me the scores and solo out the parts. And I was just like, ‘I want to do this. I can do this.’

Wilkinson’s musical heart was changing.

“Again, Buffalo Gals were on the road constantly,” she said.

“And, at that point, I did want to get off the road. When you’ve done a bunch of Carlton Haney bluegrass festivals, you were ready to get off the road.

“Pete had Bill Justis, the big arranger of the day, solo the tracks for me and show me the string arrangements. I was still a country fiddle player, and one day, I was actually on a session with Buddy Spicher over at Music City Recorders, and Jack Logan, who owned it, came up to me and said, ‘You’re a string arranger, aren’t you?’ I had never done a string arrangement in my life, but I was so broke, I just told him ‘Yes, I am.’

“I took the songs — I think he gave me three songs to do, and I took them home. He had hired a sister act, the Cates Sisters [Marcy and Margie], that played fiddles and sang, and I guess a couple other players. So, we came in and recorded these string arrangements that I did. After that, I went around to all of the people I had played fiddle for and told them I was a string arranger.”

There were other changes for Wilkinson, as well. She had always been drawn to the viola, and it was time for her to move to the instrument, lower and tonally different from the violin. And, of course there’s always the Nashville connection. Help came from a renowned recitalist, chamber musician, and professor at Vanderbilt.

“I wanted to change because I’ve always loved the viola, and I guess it just felt more accessible to me,” Wilkinson said. “I realized that one of my favorite viola players in the whole world lived here — Kathryn Plummer. And, of course, I was so broke, I can’t even tell you. I didn’t have a nickel to my name. And Kathryn — she probably doesn’t even remember this, but it meant a lot to me. She let me help her paint the interior of her house for viola lessons, like a trade.

So I practiced up on viola, and got into Nashville Symphony to make some money. And, it got me off the road.”

“i feel like there is no one who understands a song better than an artist or a songwriter, artist, producer … i try to live in their music.”

Owen Bradley

Garth Brooks

Her work as a string arranger began to take on an identity of its own. She knocked on doors, and people were listening. Wilkinson was making a name for herself and leaning into that destiny she had intuitively recognized.

“So, one of the people that I went to was Skip McQuinn, who had the Sound Lab,” she said. “It was right down on Music Row. It’s not there anymore, but I think the building still exists. Skip hired me to do a bunch of string arrangements right off the bat.”

McQuinn introduced her to Harold Shedd, who headed Mercury Records and Polydor. Shedd was also a producer best known for his work with Alabama, but also worked with Willie Nelson, Reba McEntire, Mel Tillis, Glen Campbell, Dobie Gray, Shania Twain, and many others.

“The week after I met Harold Shedd I did string arrangements for Alabama, and boom, I was a string arranger,” she said. “Nashville was different then. You didn’t have to go through ten pressure air locks to get into a record label. When I first decided I was an arranger, I remember having reel-to-reel tapes and getting a whole bunch of copies of the four or five songs I was working on, and put them on tape, and I’d just walk around Music Row and drop them off with people. You could just go in and see people.”

That core work led to a life she never imagined when she moved to Syracuse to join the Buffalo Gals. Her growth as an arranger informed her ability as a composer.

“I guess the composer part of this show has always been a little bit of a sideline,” Wilkinson said. “I’ve always dwelt in a place where [I felt] if people called me up to do something, and if it sounds interesting, I’ll do it.

“My main composer credit is with Marty Stuart and my husband, Larry Paxton. We composed the score to the movie All the Pretty Horses. Marty and I have known each other since our teens.

“And we were on the road, we were in the same circuit, on the bluegrass circuit....I mean, good friends all this time. He just called — I guess he decided he wanted to do some film scoring. Somehow, he’d made friends with Billy Bob Thornton.

“I played on the movie Daddy and Them, and then, suddenly, this other movie fell in our laps. We really didn’t know the first thing about scoring for film, but we do know how to write, and we just started writing. I’m so proud of it.”

That was in 2000, and the score was nominated for a Golden

Globe, and opened the door to other film and television orchestral scoring, including the movies Prancer Returns and An Unfinished Life, the Grammy Awards show performances with Chris Stapleton and Brandi Carlile, the CMA Awards for ten years, American Idol (rhythm and strings), work on CMT Unplugged, the Dove Awards, and many others, burnishing her place in the industry.

“Every bit of that work has been amazing,” Wilkinson said. “I actually think that after we scored All the Pretty Horses, and appreciating each other’s musicianship and the inspiring experience we all enjoyed — I think Marty felt called to get his band together [the Fabulous Superlatives]. Look at what he’s done. That band is so spectacular. And every now and then, he’ll hire us and call us ‘The Superlative Strings.’”

In a career defined by working with others, sensing a vision, and producing collaborative work, Wilkinson is able to live within musical creation as a global space. She is a synthesist.

“I compare the way I think about my work with one of my favorite arrangers, Paul Buckmaster,” she said. “He was a dear friend of mine. And, I guess I’m approaching this from the opposites. The comparison helps me to see my own approach. He always felt that his vision was what the artists needed. Whereas, I feel like I always approach it that I need to live inside the song — I feel like there is no one who understands a song better than an artist or a songwriter, artist, producer … I try to live in their music.

“And with composing, I just enjoy being around other people who are brilliant musicians. And I think I get inspired and fired up — I don’t get all weird inside my mind and doubting myself. I think that it just gives me enthusiasm and creative courage.”

“and with composing, i just enjoy being around other people who are brilliant musicians. and i think i get inspired and fired up. i think that it just gives me enthusiasm and creative courage.”

TNM

OCTOBER – DECEMBER 2023 23

REVIEWS

Buddy and Julie Miller In The Throes New West Records

Buddy and Julie Miller have been married for 40 years, and this is the fourth duo record they have made together. Julie is a prolific songwriter and passionate singer, and Buddy is one of the finest musicians, writers and producers in Music City. Transcending genres and avoiding cliches, In the Throes takes the listener on a 12-song journey through the ups, downs and curves of life. All but one of the songs was written by Julie. Produced by Buddy in their home studio and engineered by Mike Poole, the album features Local 257 members Stuart Duncan (fiddle and banjo), Viktor Krauss and Byron House on bass, Fred Eltringham on drums, Tim Lauer on keyboards, and Regina McCrary on vocals, joined

by Emmylou Harris (Local 161-710), Larry Campbell (Local 802), and Teresa Williams on vocals.

24 THE NASHVILLE MUSICIAN

REVIEWS

The distinctive blend of Buddy’s soulful growl and Julie’s sweet and clear voice lead the way, and everyone involved puts the song first. The production is spare in all the right places, and the dynamics rise and fall accordingly. Buddy’s tasteful and emotive acoustic and electric guitar playing is front and center throughout the record, and creates the perfect framework for the excellent arrangements. Opening with “You’re My Thrill,” an ode to long-lasting love, the band tastefully dances around

The distinctive blend of Buddy’s soulful growl and Julie’s sweet and clear voice lead the way, but the songs always come first. the vocal interplay, with spare percussion, upright bass, and shimmering baritone guitar cushioning the yearning vocals. “In the Throes” is a rocking guitar and B3-driven song recognizing the passion of a deep relationship. “Don’t Make Her Cry” is a highlight of the album, and is a very rare cowrite between Bob Dylan, Regina McCrary, and Julie Miller, inspired by McCrary’s father’s conversation with Dylan before allowing her to go on the road with the musical icon as a teenaged backup singer.

“Niccolo” starts out with a Beatles vibe and an uplifting lyric, and builds into an anthemic climax. “The Last Bridge You Will Cross” is a musical tribute to the life and important work of U.S. Representative John Lewis, who truly was a “weapon of love,” as the song says. Beautiful cello

by Matt Slocum and sweet harmonies from Harris complete this moving portrait of a great man.

“Tattooed Tear” is a bittersweet ode to getting through the challenges of life and love, and “I’ve Been Around” is a psychedelic trip reminiscent of the late ‘60s, with bluesy guitar swimming around Julie’s pleading vocal. Buddy takes the lead on “I’ll Never Live It Down,” and the spare background perfectly frames his passionate vocal. “We’re Leaving” is a call to everyone to remember that we are all in this journey of life together. Eltringham and House lay down a perfect feel reminiscent of The Band with Lauer’s piano and Duncan’s fiddle all on the same page. The album closes with the brief chant “Oh Shout” featuring Julie’s layered vocals, which ends the album on a playful note.

This album bears repeated listening; it has deep layers that reveal themselves as you dig into the big picture. Buddy and Julie Miller have created yet another classic that will stand the test of time.

— Roy Montana

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OCTOBER – DECEMBER 2023 25

AFM & SAG-AFTRA

S

AFM & SAG-AFTRA Fund celebrates 25 years of paying musicians and vocalists

ession musicians and background vocalists have largely been the (ahem) unsung heroes of recorded music since the dawn of the industry. A scant few make their mark and score some measure of recognition and celebrity. Merry Clayton, for example, and her sublime gospel-gilded vocal on the Rolling Stones’ “Gimme Shelter” will always burn bright and her name is familiar to many. The majority, however, remain in the shadows and are scarcely known. But if fame is the candy coating of a Tootsie Pop, then an uncollected royalty is the undercover uber-sweet Tootsie Roll center, one that many gourmandizers may not even realize sleeps inside.

The Digital Millennium Copyright Act was passed in 1998. The AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund (AKA the Fund) was then created as a result by performers unions AFM and SAG-AFTRA. It was conceived and executed as a nonprofit, independent entity to collect and distribute performance royalties to backing musicians and vocalists and their beneficiaries. In short, the Fund enables such artists to discover if they’re owed royalties for past work and if so, to collect on them. If their contribution(s) to a record were never credited or acknowledged, they can also file a claim, which the Fund will then investigate.

Generally speaking, virtually any artist in a non-featured role on a recording that’s covered by the Fund – irrespective of genre or skill level (professional or amateur) – can collect on a heretofore unclaimed royalty. Reciprocal agreements with many foreign countries such as Japan, Spain and Germany empower the operation with even greater reach.

But how likely are artists to find that they’re owed money from work that may have been done as long ago as 50 years? It’s free to register, there are no membership fees and it takes less than a minute to get an answer. The minimal investment of time required to find out, then, seems worthwhile. When the Fund was established 25 years ago, that process probably would have taken days or even weeks. Now, of course, it takes about as much time for an artist to learn if they are owed uncollected royalties as it takes to read this paragraph.

How do artists determine if they’re owed royalties? They check the AFM & SAG-AFTRA Fund site under the “Covered Recordings” and “Unclaimed Royalties” tabs. Cash for music that an artist worked on years ago and may have even forgotten about can feel like free money. Perhaps Dire Straits foresaw non-featured performer royalties when it sang “Money for Nothing” back in ‘85. Except that this is money for something. Something vital, in fact.

Many royalty claims are initiated by artists querying the organization’s site. But the Fund isn’t simply reactive. It also works to find those that are owed money. A list of all the songs and the associated artists to which the Fund distributes royalties is maintained on the site. Musicians and vocalists can check tracks on which they performed to discover if they’re included in the distribution.

If they’re not listed and believe that they should be, a claim can be filed directly from the song’s listing.

The Fund researches sources such as union contracts, liner notes and websites for credits to identify eligible performers.

26 THE NASHVILLE MUSICIAN

Beyond that, non-featured performers that weren’t recognized as contributors to a recording can submit various forms of proof that they’re entitled to credit and, consequently, royalties. Information such as session dates, contracts, studio location and pay stubs are all helpful. Support from studio folk such as producers and engineers who were involved in making the record may also carry substantial weight. Just as in the judicial system, the more evidence introduced to prove a case, the more likely claimants are to be successful.

“Any sort of documentation is always helpful,” Fund CEO Stefanie Taub said in a 2019 Music Connection Exec Profile. “Obviously, we use union contracts to determine who’s on a recording. Or liner notes, which are sometimes good, sometimes bad, sometimes somewhere in between. Artists should think about keeping a record of all the sessions they do. In the past, that wasn’t as important - you got paid, cashed your check and you were on to your next session. Now, it’s so important, not only for this fund but for who knows what’s going to come in the future.”

This is where the numbers come in. Average performer payments – of which there have been tens of thousands – run around $1500.

That’s not bad. But they can climb into the five-figure stratosphere.

When the Fund started in 1998, it brought in only about $100,000 a year in unclaimed royalties. Such meager beginnings are typical of startups. But that number has since skyrocketed to around $50 million annually. Indeed, in early 2023, the Fund reported a record $91 million in payouts for 2022, which was a 28% increase from the $71 million reported for the previous year. Clearly, royalties are on an upward trajectory and there’s every reason to believe that the trend will continue. To date, the Fund has mined more than $650 million for non-featured performers, featured symphonic musicians and the beneficiaries of both, many of whom may not even realize that money awaits them.

Any worthwhile Performance Right’s Organization strives to secure royalty payments for artists. But to do this they need accurate performer information – i.e. metadata – to find and cashout those who are eligible. For example, many artists work under several names or may use alternate spellings or aliases, which can make it difficult for PRO’s such as AFM & SAG-AFTRA Fund to locate them. Fortunately, the Fund has a team of seasoned researchers that helps with these and other crucial tasks. It’s a common misconception that labels have all of the information needed for royalty payments. Often, they don’t, mainly because ample consideration wasn’t given to non-featured performers when some recordings were made. Not surprisingly, missing metadata has been the cause of royalties failing to be paid in the past.

Even if you’re not receiving royalties from this Fund, chances are if you’re reading this article, you know someone who is being paid or could be owed. Spread the word. Contact afmsagaftrafund.org — Rob Putnam This article was reprinted from the August 2023 issue of Music Connection with their permission.

As

JAZZ & BLUES BEAT

we slide into the fourth quarter, summer gigs are over and it’s time to see what the schools are serving up for this fall, in addition to the regular venues. At our deadline, there wasn’t all that much on everyone’s calendars, but with less to report than usual we have space to let you know what’s happening to the east and west of us. Read on.

Back to school

At the Wright School of Music at Middle Tennessee State University, remaining concerts in this season’s Jazz Artist Series are still to be announced. Latin jazz fans will definitely enjoy the MTSU Salsa Band Nov. 29. At Vanderbilt, the Blair School of Music will host the Blair Jazz Choir Nov. 8. The Belmont College of Music features Jazz Band 1 and 2 Oct. 27, Jazzmin — their jazz vocal ensemble — Nov. 7, Jazz String Quartet and Small Group 1 Nov. 15, all at 7:30 p.m., plus the Jazz String Septet Nov. 10 at 10 a.m. (!), all in Massey Concert Hall.

At the Scarritt Bennett Center, Vespers & All That Jazz is a unique worship experience that uses words and live music from a variety of sources to encounter the Sacred. They say: “We understand jazz to be a process of making music, music which shapes the service and helps us experience the interruptive Spirit of God in ourselves and others.” Every Sunday from 6:30-7:15 p.m. in the Chapel. Archived video recordings are at www.youtube.com/user/scarrittbennett.

BY AUSTIN BEALMEAR

are often sold out. www.riversiderevivalnashville.com. Another East side venue is Shugga Hi, a small soul food bakery and cafe that features chicken and waffles. Catch their Jazz & Eggs Sunday Brunch Buffet with live music, 9 a.m.-2 p.m. More info at shuggahibakeryandcafe.com

Memphis music

Blues and soul are alive on Beale Street. Try the Rum Boogie Cafe, B. B. King’s Blues Club, The Band Box at Blues City Cafe, or Alfred’s. The Cove on Broad St. offers jazz on Thursdays and Sundays with seafood and cocktails. www.thecovememphis.com. Crosstown Arts, off North Parkway near the zoo, presents as part of their Modern Masters Jazz Series, New Orleans tenor sax great Tony Degradi with Ted Ludwig’s Trio, Nov. 14. www.crosstownarts.org. Like big band music? Look for the Memphis Jazz Orchestra, Southern Comfort Jazz Orchestra, or Jazz Orchestra of the Delta. And the Memphis Knights Big Band plays once a month at Lafayette’s Music Room on Madison Ave. Info at www.lafayettes.com

Knoxville action Venues large and small

Some gigs are worth repeating. Still to come at Schermerhorn Symphony Center, virtuoso pianist Kenny Barron and his Trio Oct. 29.

Trombonist Joseph Alessi takes a break from the New York Philharmonic to play a Trombone Concerto by Chick Corea — to be recorded live — Nov. 2, 3 and 4. Then blues legend Buddy Guy brings his “Damn Right Farewell Tour” in on November 20. The intimate acoustics of the Ryman Auditorium are perfect for Straight No Chaser, an acapella vocal group that started with a primarily jazz repertoire but have expanded into many genres. Hear them Nov. 12.

Riverside Revival is a renovated 1951 East side church that is now used for concerts and nonprofit events. Catch bassist Victor Wooten Nov. 2, and Icelandic-Chinese jazz vocalist and multi-instrumentalist Laufey Nov. 6. Get your tickets early, shows

The Bistro at the Bijou, an old hotel and movie theater, offers jazz on Monday, Friday, and Saturday nights. Info at www.thebistroatthebijou. com. Preservation Pub is part of a multi-bar complex with a rooftop bar and music 365 days a year, including some jazz and blues. www. scruffycity.com. The Square Room at Market Square even has jazz for lunch. www.thesquareroomknoxville.com. Water into Wine is a major bistro out in Farragut that has jazz and blues on Wednesdays and Saturdays. www.waterintowineknoxville.com. And of course, check out the jazz activities of the music school at the University of Tennessee, and the Knoxville Jazz Orchestra. The KJO begin a new season of intimate concerts with various groups called Live at Lucille’s Oct. 22 at Regas Square Events downtown. The shows are also taped for PBS and are usually shown in Nashville on channel 8. www.knoxjazz.org.

TNM

OCTOBER – DECEMBER 2023 27

FINAL NOTES

Jesse Lester McReynolds July 9, 1929 – June 23, 2023

I

nnovative bluegrass mandolinist, singer, and songwriter Jesse Lester McReynolds, 93, died June 23, 2023. As half of the duo Jim and Jesse, he and his brother performed across the country for decades, and made major contributions to the genre that carried a lasting influence to musicians who followed them. McReynolds was a 59-year member of the Nashville Musicians Association who joined Local 257 March 16, 1964.

He was born July 9, 1929, in Coeburn, Virginia, to Claude Matthew and Prudence Savannah Robinette McReynolds. The family had a rich musical history — his grandfather Charlie was recorded during the famed 1927 Bristol Sessions, his father played fiddle, and his mother was a singer who also played banjo and harmonica. McReynolds talked about his first musical experiences in a 2015 interview with The Nashville Musician.

“Music was our only entertainment growing up. We had one radio in the community, and it belonged to my brother-in-law. All of the neighbors would go to his house every Saturday night to listen to the Grand Ole Opry, and the music just stuck with me. I was in a car wreck when I was 14 and broke my leg, and when I got home from the hospital, I just sat on the side of the bed and tried to learn how to play fiddle. I don’t know how my mom put up with it, but she did!”

The brothers began performing together as The McReynolds Brothers with Jesse singing lead and Jim tenor, around 1947. They made their first recording of 10 gospel bluegrass songs on Kentucky Records in 1951. One year later they signed with Capitol Records and became Jim and Jesse and the Virginia Boys. The first record took some time to come together, as Jesse served in the U.S. Army from 1952 to 1954, and was only able to get into the studio when on leave. During his time in Korea, he formed the 28 THE NASHVILLE MUSICIAN

Dusty Roads Boys with Charlie Louvin, and entertained the troops with regular concerts.

McReynolds used a unique, self-invented “crosspicking” and “split-string” playing method — he said that he wanted people to be able to identify Jim and Jesse when they heard them. The style was a deviation from Bill Monroe’s innovations, and involved using left hand positions and open strings so that he could pick the strings of the mandolin across three sets of strings, with the tune always in the forefront. After McReynolds’ service in the army, the brothers began to tour heavily, and would also go on to record more than 30 albums over the next 40 years. They joined the Grand Ole Opry in 1964, and also hosted a very popular program from Live Oak, Florida — Suwannee River Jamboree — throughout the ‘50s and ‘60s, which was syndicated to other U.S. markets on radio and television.

McReynolds wrote several classic mandolin instrumentals, among them “Dixie Hoedown” and “Stoney Creek.” But the band didn’t just record bluegrass originals and standards. Their discography includes a mid ‘60s album of Chuck Berry covers, as well as country instrumentals, and gospel records, and in 1969 Jesse played mandolin on the Doors’ single “Runnin Blue” from their Soft Parade album. Over the years many well-known musicians played in the Virginia Boys, including Vassar Clements, Allen Shelton, Carl Jackson, Jimmy Buchanan, and Glen Duncan.

“When I think of Jesse McReynolds, the first thing that comes to mind is the incredible body of work — hundreds of songs! — that Jim & Jesse recorded in their Hall of Fame career, including many of the most important bluegrass records ever made. Jesse’s

innovative Crosspicking and Split-String techniques for mandolin will never be equaled.

“The Jim & Jesse trademark was that incredible ‘Brother Harmony’ vocal sound, great song choice, virtuoso level solo playing by Jesse and the Virginia Boys Band, and a stage presentation that was professionalism personified. The Jim & Jesse musical legacy will last forever, and I’m certain that right now, some young musician is studying their records, just as we all did, and being inspired to pursue a life in music,

by Jim & Jesse McReynolds,” Duncan said.

Jim and Jesse were inducted into the Bluegrass Hall of Fame in 1993, and awarded the National Heritage Fellowship Award in 1997. After Jim McReynolds’ death in 2002 Jesse retained his Opry membership, and in 2020, became the oldest living member following the death of Jan Howard. McReynolds continued to perform, record, and expand his musical horizons. In 2010 he spearheaded a tribute titled Jesse McReynolds & Friends Tribute to Jerry Garcia and Robert Hunter: Songs of the Grateful Dead, released on Woodstock Records.

In 2017 McReynolds appeared on the television series Nashville, playing a blind singer.

In addition to his parents and his brother Jim McReynolds, he was preceded in death by his first wife of 41 years, Darlene McReynolds; one son, Keith McReynolds; two sisters, Stella McReynolds and Virginia Greear; and one great-grandson. Survivors include his second wife of 27 years, Joy Tipton McReynolds; one daughter, Gwen McReynolds, two sons, Michael K. and Randy Q. McReynolds; eight grandchildren; and three great grandchildren.

Funeral services were held June 28 at Alexander Funeral Home & Cremation Center with Brother James Bell and Randy McReynolds officiating. Entombment followed in Sumner Memorial Gardens Mausoleum.

The family has asked that memorial contributions be made to Opry Trust Fund, One Gaylord Drive, Nashville, TN, 37214, or to Dogingham Palace Rescue, 5912 Colchester Drive, Hermitage, TN, 37076.

“I just can’t remember a time in my life without hearing them. I’ve always thought that bluegrass mandolin came from three guys: Bill Monroe, Jesse McReynolds and Bobby Osborne — those are the three styles to me.” ­— Ronnie McCoury “I just can’t remember a time in my life without hearing them,” said Ronnie McCoury, mandolinist-singer for the Del McCoury Band and Travelin’ McCourys. “I’ve always thought that bluegrass mandolin came from three guys: Bill Monroe, Jesse McReynolds and Bobby Osborne — those are the three styles to me.”

FINAL NOTES

DEBORAH MAUREEN LOACH March 26, 1970 – May 25, 2023

Percussionist Deborah Maureen Loach, 53, died May 25, 2023. She joined Local 257 Feb. 5, 2007.

She was born in Lakewood, Ohio, March 26, 1970, to Maureen Kundtz and Charles Loach. She grew up in an artistic family, and also loved sports.

She played baseball and basketball as a teen, but became more interested in music. In high school she played in several ensembles, and traveled to Scotland as part of a pipe band for a competition. She was also in an award-winning vocal jazz ensemble.

After graduation Loach attended Hofstra University for a year before transferring to the Manhattan School of Music, where she obtained a bachelor’s degree. She also attended Cleveland State University.

Loach met her husband, fellow percussionist Richard Graber, at the Manhattan School of Music, and the couple moved to Florida in 1995 where they enjoyed freelance careers, including performances with the Florida Orchestra and the Southwest Florida Symphony. They moved to New Orleans in 1999 when Graber won a position with the Louisiana Philharmonic. Loach also performed with the philharmonic, and other ensembles. After hurricane Katrina, she and her husband moved to Nashville, where Graber began work with the Nashville Symphony. Loach played with the NSO as well, and also the Huntsville Symphony, Alabama Symphony and the Mobile Symphony — with whom she won a position in 2008. She also taught as a member of the adjunct faculty at the University of Alabama in Huntsville.

Loach performed at Carnegie Hall in 2012 as part of the NSO, and started her own chamber group called Chamber Happenings in 2020. She also led the Huntsville Music Teachers Association during the pandemic. Her colleague Daphne Reed talked about Loach’s contribution to the organization.

“She kept us all focused forward and positive as we struggled to keep the music alive. Debi’s positive spirit and incredible talent made our music world a better place. I will miss her but will never forget her bright smile and that twinkle in her eyes,” Reed said.

Many peers who knew Loach from her teaching and performance careers commented on her impact to them. “Debi was kind, positive, and such an encourager. While many musicians often tell their colleagues ‘Well done!’ after a concert, Debi’s habit was to approach a colleague ahead of time and say ‘You’re going to be great!’ What encouragement and motivation that can provide at a time of need. I consider myself fortunate to have been able to make music alongside her,” said percussionist Bryan Dilks.

Survivors include her husband, Rich Graber; her father, Charles Loach; one brother, Brad Loach; and one aunt, Gloria Rothhaas.

A gathering of family and friends was held June 2.

continued on page 30 OCTOBER – DECEMBER 2023 29

FINAL NOTES continued from page 29

HAROLD LEO BLAIR

Aug. 15, 1941 - June 20, 2023 Violinist and music professor Harold Leo Blair, age 81, died June 20, 2023. He was a 53-year member of the Nashville Musicians Association who joined Local 257 Sept. 8, 1970.

He was born Aug. 15, 1941, in Parkersburg, West Virginia, to the late Isaac and June White Blair.

After high school, he graduated from West Virginia University in 1963 with a bachelor of music degree. He earned his master of fine arts degree from Ohio University, and also completed graduate work at the University of Kentucky and Peabody College. After teaching music at Murray State University and Ohio University, he became a member of the music department at Morehead State University in 1975. He retired in 1998, but continued to teach part-time until 2018. In addition to his nearly 40-year teaching career, he played with the Nashville Symphony, the Owensboro Orchestra, and the Lexington Philharmonic.

Blair’s concert appearances as a soloist included prestigious venues such as The Kennedy Center for the Performing Arts. He also served as guest conductor of the West Virginia Allstate Orchestra, and was a member of traditional music groups The White Horse String Band, and Spit and Polish.

Many of Blair’s former students spoke of the impact he had on their lives. One of them was Joy Gritton, who talked about what his tutelage meant to her.

“Leo is the reason I was able to learn to play guitar late in life. He was patient with my struggles, endured the many times I had not had a chance to practice, and guided me through technique and artistry and a little music history for good measure. I valued our conversations so very much — about music and art and life and teaching. He was a great storyteller and a keen observer of human behavior. I learned a great deal from him — about perseverance and aging and tolerance. He gave me many gifts, and I will play my guitar with joy and care and love the rest of my life with his spirit always in my heart and hands. There is undoubtedly some beautiful music being played in heaven since his passing,” Gritton said.

Family members said Blair also enjoyed woodworking, reading — primarily American history — fishing, and spending time with children and grandchildren. He was a member of the Kentucky Education Association, the College Music Society, the American String Teachers’ Association, and was a men’s music honorary of Phi Alpha Mu. He was a member of the United Methodist Church.

Blair was preceded in death by his wife of 57 years, Mary Jane (Gorsuch) Blair.

Survivors include two sons, Eric and Jason Blair; two sisters, Robin Anthony and Judy Guinn; four grandchildren; and nieces, nephews, extended family, and friends.

Interment was June 27 at Friedens Lutheran Church Cemetery in Friedens, Pennsylvania. Memorial contributions are suggested to the American Cancer Society.

30 THE NASHVILLE MUSICIAN

VICTOR L. CLAY

Aug. 11, 1937 – July 18, 2023 Guitarist and producer Victor L. Clay, 85, died July 18, 2023.

He was a life member of the Nashville Musicians Association who joined Local 257 April 9, 1985.

He was born Aug. 11, 1937, in Lamar, Colorado, to Gene and Hazel Gittings Clay. He started playing early in life, and performed with his father at Ark Valley Wranglers dances and other community events. After graduating from Lamar High School in 1955, he served in Japan in the U.S. Army as a signal corps specialist.

After his army service he worked for television evangelist Rex Humbard, appearing on the pastor’s weekly broadcasts from the Cathedral of Tomorrow, and touring internationally with the organization. Clay also managed studio production for the ministry. In the ‘70s Clay and his family moved to Cincinnati, Ohio, where Clay became a co-owner of Artists Recording and went on to produce many gospel artists and productions.

In the mid ‘80s Clay and his family relocated to Nashville.

He went on to record on hundreds of gospel and country sessions, including work for Jeff Ferguson, Mickey Newberry, and Ray Flacke. He also continued to produce for a variety of artists including the Cathedrals Quarter, and Cathedrals member George Younce. Walters’ wife Linda died in 1990.

He married his second wife, Toni Holcomb, in 1993, and together the couple opened Potter’s Clay Music Group/Vic Clay Productions and two publishing companies.

In addition to his parents and his first wife, Linda, Clay was preceded in death by an infant brother; and two sisters, Marietta Barnholt and Judith Stewart.

Survivors include his wife, Toni Jolene Clay; one son, Victor L. Clay Jr.; one daughter, Vicky McDaniels; one sister, Lea Stutler; three grandchildren, Ashley, Shaunessy, and Seth David; numerous nieces and nephews; one great-grandchild; many great nieces and nephews; and one aunt, Betty Clay.

A military memorial was held Sept. 7 at Middle Tennessee State Veterans Cemetery. Clay was interred in the National Military Cemetery in Nashville.

FINAL NOTES

JAMES “JD” DAWSON WALTERS Sept. 25, 1938 – June 24, 2023

Steel guitarist James “JD” Dawson Walters, 84, died June 24, 2023. He toured and recorded with Hank Thompson as well as several other artists. He was a 49year life member who joined Local 257 Dec. 31, 1973.

He was born Sept. 25, 1938, in Agricola, Mississippi, to William and Ollie Rush Walters. He started playing music as a child and was playing professionally by the time he was a teenager. Walters particularly enjoyed jazz and country, which led him into the Western swing genre.

Walters grew up loving Thompson’s music, and traveled to New Orleans to see a show, but was turned away for being underage. The enterprising teen found a side door, sat outside, and managed to still hear the band. During his professional career he spent seven years working with Freddy Hart, and two years with Billie Jo Spears, before joining Thompson’s Brazos Valley Boys. Walters was Thompson’s last steel player, and would remain a Brazos Valley Boy for nearly 30 years. He also worked with Johnnie Lee Wills and other Western swing performers. He released several solo instrumental albums during his career, and appeared on Brazos Valley Boys records as well. As a solo artist Walters played a variety of gigs, including opening for legendary steel player Buddy Emmons.

Friends and family members remembered not only his devotion to family, but also his sharp intellect, dedication to his craft, and attention to detail. They said he always approached his work with passion. Fellow steel players said Walters was known for his smooth playing, Western swing licks, and being a great guy who encouraged other musicians.

He was a member of the Southwest Western Swing Hall of Fame, the Kansas Western Swing Hall of Fame, and the Seattle/Northwest Western Swing Hall of Fame.

In a post on the Brazos Valley Boys Facebook page, band members talked about Walters’ passing. “The most important thing to say about JD is that he was a wonderful human being. He was kind, considerate and always thinking of others. JD always had something good to say about his fellow humans… We lost a great talent, a great human being and a wonderful friend.”

In addition to his parents, Walters was preceded in death by two sisters, Mary Bush and Lorene Marker; and one son, Glenn Walters. Survivors include his wife of 52 years, Linda Walters; five children, Barry Walters, Dana Walters, Gina Chapman, Tanya Farmer, and Lonnie Walters; and numerous grandchildren and great-grandchildren.

A memorial ceremony was held Aug. 5 at the Kingdom Hall in Bixby, Oklahoma. A celebration of life commemorating Walters’ musical career is planned for a later date. TNM

Pension Fund Questions?

For more information contact: Tanisha Figueroa 212-284-1272 TFigueroa@afmepf.org Gary Lubliner 212-284-1289 glubliner@afmepf.org

IN MEMORIAM The officers, staff and members of Local 257 extend our deepest

sympathies to the families and friends of our members who have recently passed away.

You are in our thoughts, hearts and prayers.

Name

Born

Joined

Died

Life Member

James W Buffett

12/25/1946

03/31/1970

09/01/2023

Y

Robert C Feldman

06/14/1940

10/05/1999

08/23/2023

Y

Michael J Henderson

07/14/1953

03/17/1986

09/22/2023

Y

Curtis Jay Hiner

07/14/1964

01/20/1993

08/17/2023

Vernon Paul Oxford

06/08/1941

09/13/1965

08/18/2023

Y

David Roe Rorick

11/05/1951

03/23/1981

09/15/2023

Y

Sylvia Samis

04/01/1948

08/10/2016

09/22/2023

Y

Willis Spears

09/13/1940

05/20/1981

09/17/2023

Y

Elvin B Thomas

09/24/1932

03/20/1973

09/06/2023

Y

General Membership and Nomination Meetings on Zoom/In person Tuesday, Nov. 14, 5:30 p.m.

OCTOBER – DECEMBER 2023 31

FINANCIALS NASHVILLE MUSICIANS ASSOCIATION STATEMENT OF INCOME - MODIFIED CASH BASIS -SUBSTANTIALLY ALL DISCLOSURES OMITTED. YEAR ENDED DECEMBER 31, 2022

REVENUES LOCAL DUES INITIATION FEES ERF CONTRIBUTIONS FUNERAL BENEFIT CONTRIBUTIONS FEDERATION INITIATION FEES WORK DUES FINES & REINSTATEMENT FEES INTEREST EARNED UNAPPLIED MEMBERS' ESCROW CASH OVER & SHORT REFUNDS SERVICE CHARGES LATE FEE - SERVICE CHARGES CREDIT CARD USAGE FEE SUPPLIES SOLD ADVERTISING SALES DISCOUNTS RECEIVED OTHER ARTISTS & OTHERS AFM - EP FUND AFM HEALTH & WELFARE SERVICE CHARGE MUSICIANS' PAYROLL TAXES CONVENIENCE FEE CARTAGE RESIGNATION CLEARANCE FEES ENTERTAIINMENT RECEIPTS EMPLOYEE RETENTION TAX CREDIT TRANSFERS FROM OTHER FUNDS TOTAL REVENUES EXPENSES SALARIES & PAYROLL TAXES OFFICER'S EXPENSES OFFICE EXPENSES OTHER EXPENSES BUILDING & EQUIPMENT MAINTENANCE PER CAPITA TAX DEPRECIATION FEDERATION INITIATION FEES AFM-EP FUND AFM WORK DUES COMMISSIONS ADVERTISING ARTISTS & OTHERS REFUNDS SERVICE CHARGE MUSICIANS PAYROLL TAXES BANK CHARGES & FEES BENEFITS ERF CONTRIBUTIONS PROFESSIONAL FEES TRANSFERS TO OTHER FUNDS TOTAL EXPENSES OPERATING PROFIT (LOSS)

REGULAR FUND

SPECIAL FUND

FUNERAL BENEFIT FUND

ER FUND

423913 6000

2340 477723 3485 1089 -209 -65 0 50967 2106 3860 40 11910 5 307

120759

11

3087

TOTAL

11113

45

-40 4135

600667 10171 11856 6295 14096 1480 1207 150 6020 47679 130000 __________ 1168800 648398

483847 8881 125242 44596 66544 125200 15357 1885 60003 122472 2089 10 5920

21813

35000 __________ 158846 11158

200

9835 53609

396604 3456 5940 14065 438 140500

5000

86719 10249 130000 _________ 700665 150749 (52267) 8098)

35000 40200 (29042)

3002 _________ 1086861 81939)

423913 6000 11113 120759 2340 477723 3485 4231 -209 -105 4135 50967 2106 3860 40 11910 5 307 600667 10171 11856 6295 14096 1480 1207 150 6020 47679 165000 1987202

483847 8881 125442 44596 66544 125200 15357 1885 69838 176081 2089 10 402524 3456 5940 14065 22251 145500 3002 96967 165000 1978475 8727)

THESE FINANCIAL STATEMENTS HAVE NOT BEEN AUDITED OR REVIEWED , AND NO CPA EXPRESSES AN OPINION OR A CONCLUSION NOR PROVIDES ANY ASSURANCE ON THEM.

HOLIDAYS FRIDAY, NOV. 10 | VETERANS DAY NOON NOV. 22 — FRIDAY, NOV. 24 | THANKSGIVING MONDAY, DEC. 18, 2023 — MONDAY, JAN. 2, 2024 | HOLIDAY BREAK MONDAY, JAN. 15, 2024 | MARTIN LUTHER KING JR. DAY

32 THE NASHVILLE MUSICIAN

WHAT DO KEITH URBAN TAYLOR SWIFT CHRIS STAPLETON LARRY CARLTON DAN + SHAY ALISON KRAUSS

HAVE IN COMMON?

THEY ARE ALL MEMBERS OF THE NASHVILLE MUSICIANS ASSOCIATION AND READ THIS MAGAZINE! Advertising in The Nashville Musician is a cost–effective way to reach professional musicians, high-profile artists and music business executives.

TO PLACE YOUR AD, CONTACT LESLIE BARR

615.244.9514 LESLIE@NASHVILLEMUSICIANS.ORG

FINANCIALS

MEMBER STATUS

NASHVILLE MUSICIANS ASSOCIATION BALANCE SHEET - MODIFIED CASH BASIS - SUBSTANTIALLY ALL DISCLOSURES OMITTED. DECEMBER 31, 2022

ASSETS: Cash & Checking Accounts Investments Totals

REGULAR FUND

SPECIAL FUND

FUNERAL BENEFIT FUND

218569 0 218569

173651 0 173651

69113 110153 179266

69832 0 69832

531165 110153 641318

0

0

372405

1651

374056

______ 0 _______ 71483

125000 509792 416842 411680 -1047531 415783 _______ 1431157

Due from Regular Fund

Property & Equipment Land Building Building Renovation Furnishings & Equipment Less: Accumulated Depreciation Total Property & Equipment TOTAL

NEW MEMBERS

125000 509792 416842 411680 -1047531 415783 _______ 634352

_______ 0 _______ 173651

______ 0 _______ 551671

EMERGENCY RELIEF FUND

TOTAL

Aaron N Apter Patrick Dale Burrows Thomas Gabriel Coggins Todd V Collins John Michael Fox Peter K Frampton Likai He Thomas Houston Jones Shan Patrick Kenner Christian Gabriel Kosmac William Leathers Jayve John Montgomery Jr. Jack Schneider Kyle Michael Skarshaug Duncan Wachs

REINSTATED

LIABILITIES Escrow and Advance Payments Due to Funds Payroll taxes withheld Total Liabilities FUND BALANCES TOTAL

10847 374056 541 385444

213407 0 0 213407

8000 0 0 8000

0 0 0

232254 374056 541 606851

248908 _______ 634352

-39756 ______ 173651

543671 ______ 551671

71483 _______ 71483

824306 ________ 1431157

THESE FINANCIAL STATEMENTS HAVE NOT BEEN AUDITED OR REVIEWED, AND NO CPA EXPRESSES AN OPINION OR A CONCLUSION NOR PROVIDES ANY ASSURANCE ON THEM.

Have you recently received...

Rebecca Michele Abrahams Robert P Angello Marco Franklin Castillo Lael S Eccard Jerry Allen Flowers Ray W Herndon Ron Kirby Stuart F Montez Craig E Smith David Strayer TNM

your 25-year pin, become a life member, or a 50-year member?

Invite a musician to join us!

We want to make sure we give you the proper props in the next magazine. Email your pin photo or call us to come by the local to have your photo taken.

in progress through Dec. 15.

2023 Membership Drive now No joining fees!

PROPS TO YOU

TAKE A PHOTO

WITH

YOUR PIN & INSTRUMENT

email to: kathy@nashvillemusicians.org

OCTOBER – DECEMBER 2023 33

DO NOT WORK FOR

DO NOT WORK FOR The “Do Not Work For” list exists to warn our members, other musicians and the general public about employers who, according to our records, owe players money and/or pension, have failed to sign the 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)

Membership and nomination meetings NOV. 14 Zoom/In person 5:30 p.m.

34 THE NASHVILLE MUSICIAN

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

WE’RE HERE TO HELP 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.

OCTOBER – DECEMBER 2023 35

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

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

R E A L E S TAT E .

IT’S NOT JUST

BUSINESS,

IT’S PERSONAL.

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Allow me the honor of serving you in your next Real Estate endeavor, no matter how large or small. § MULTI-MILLION DOLLAR SALES § NASHVILLE REALTOR FOR OVER 10 YEARS § LOCAL 257 MEMBER FOR OVER 30 YEARS

LET’S GET YOU IN A HOME! 615.969.7744 36 THE NASHVILLE MUSICIAN cell | 615.358.9010 office

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