RIDERS IN THE SKY Ringo’s Defenders of the Cowboy Way Beaucoups

Official Journal of AFM Local 257
January - March 2012
of Blues
Defenders of the Cowboy Way
Nashville Association of Musicians #257
11 Music Circle North
Nashville, TN 37203-0011
- Address Service Requested -
U.S. Postage
Nashville, TN
Permit No. 648
Official Journal of the Nashville Musicians Association, AFM Local 257
January - March, 2012
Details on the next membership meeting on March 12, upcoming bylaw amendments, past minutes and more.
State of the Local
President Dave Pomeroy updates the membership on current projects, issues, and looks to the future.
New Grooves
Secretary-Treasurer Craig Krampf talks about Local 257 benefits, and offers his wish for the new year.
Lower Broad becomes a friendlier place for the people who make it
all possible — musicians. Also, big changes in the live department, and results of the Local 257 election held in November 2011.
Heard on the Grapevine
The notable comings and goings of Local 257 members.
Musical visionaries
David Briggs and Norbert Putnam are honored with the prestigious Cecil Scaife Visionary Award.
15 Making the world safe for cowpokes everywhere
Riders In The Sky talk origins, the union, the band’s latest record, and of course, the Cowboy Way.
Vince Gill takes aim at another hit with Gunslinger; plus new discs by Charlie McCoy, Darrell Scott and Kenny Vaughan. Also, a bevy of six-string stars on a tribute recording featuring Mosrite Guitars.
After meeting Pete Drake in England, Ringo Starr traveled to Music City to make a country album.
Symphony Notes
NSO makes ready a return to Carnegie, and dives into their new
concert season.
Jazz & Blues Beat
Austin Bealmear reviews a new book on the fascinating story of the Hammond B3.
RMA Corner
Music City will stay strong as long as musicians stay united.
Final Notes
We say our final farewells to a number of our members.
Member Status
Do Not Work For
for AFM
Call us at 1-800-762-3444 ext 238 during normal business hours EST
The Nashville Musician
January - March 2012
New Musician Loading Area signs,
AFM Entertainment and more in
the Live music update on Page 10
Riders In The Sky have been defending the Cowboy Way for nearly 35
years.The story begins on Page 15.
Flashback takes a look at Ringo
Starr’s 1970 Nashville album
Beaucoups of Blues on Page 21.
Next General Membership Meeting, Monday, March 12, 2012
Official Quarterly Journal of the
Nashville Musicians Association
AFM Local 257
Publisher: Dave Pomeroy
Editor: Craig Krampf
Associate Publisher: Daryl Sanders
Managing Editor: Kathy Osborne
Assistant Editors: Leslie Barr, Kent Burnside
Contributing writers: Austin Bealmear, Bruce
Bouton, Warren Denney, Roy Montana, Laura
Contributing photographers: Craig Krampf,
Alan Mayor, Dave Pomeroy, Laura Ross
Art Direction: Daddy D Design
Web Administrator: Kathy Osborne
Sales: Anita Winstead
Local 257 Officers
President: Dave Pomeroy
Secretary-Treasurer: Craig Krampf
Executive Board
Jimmy Capps, Duncan Mullins, Andre Reiss,
Laura Ross, Tim Smith, Tom Wild, Jonathan
Hearing Board
Michelle Voan Capps, Tiger Fitzhugh, Teresa
Hargrove, Bruce Radek, Kathy Shepard, John
Terrence, Ray Von Rotz
Ron Keller, Biff Watson
Sargeant At Arms
Chuck Bradley
Nashville Symphony Steward
Laura Ross
Office Manager: Anita Winstead
Assistant: Laura Ross
Electronic Media Services
Director: Juanita Copeland
Assistant: Teri Barnett
Data Entry: Mandy Arostegui
Recording Dept. Assistant: Kelly Spears
Live and Touring Department
Director: Leslie Barr
Membership Coordinator and
Live Engagement/MPF Coordinator
Rachel Mowl
Front Desk: Laura Birdwell
© 2012 The Nashville Musicians Association.
P.O. Box 120399, Nashville TN 37212
All rights reserved.
The next Local 257 General Membership meeting will be Monday, March 12, 2012 at 6 p.m.
Doors will open at 5:30. There is one proposal on the agenda raising a number of live performance
rates on the Local 257 Miscellaneous Wage Scale and Price List.
The changes to the current 2011 rate sheet, which is viewable online at nashvillemusician.org, are
listed below. Sections not listed below remain unchanged. There will be reports from the president
and secretary-treasurer, and other important topics will be discussed.
If we do not have a quorum of 30 members, we will not be able to vote on the wage scale
Whereas, the pay rates for many of the sections of Local 257’s Miscellaneous and Steady
Engagement Wage Scale and Price List have not been raised since 2007; and
Whereas, the existing scales have been below average at best for many years, and are much less
than professional musicians deserve; therefore be it Resolved, that the following rates on the Miscellaneous and Steady Engagement Wage Scale and
Price List of Local 257 be changed, as of May 1, 2012, as follows: (new language is underlined –
eliminated language is crossed through)
A fifteen-percent (15%) Surcharge shall be added to the base wage rates of the engagement
to reimburse the contractor/leader/employer for his payroll expenses. A fifteen-percent (15%)
Surcharge shall should be added to the base wage rates of the engagement to reimburse the
contractor/leader/employer for his payroll expenses. A contractor/leader not acting as an employer of
musicians, and collecting the fifteen percent (15%) must add an additional fifteen percent (15%) to
the base wage rate of each individual musician. These stated base wage rates plus the SURCHARGE
Leader/Contractor - In orchestras of twelve (12) musicians or more, the Leader and Contractor
shall not be the same person.
(A local contractor must be hired when (3) or more local musicians are used to augment a
traveling show performing locally.)
2 hours or less, side-musician. $75.00/$86.50 $90/103.50 (rate/plus 15 percent)
Double scale
3 hours, side-musician
$100.00/$115.00 $120/130
Overtime (not contracted) per hr, side-musician.
$40.00/46.00 $50/57.50
Double scale
3. RELOCATION OF MUSICIANS: Musicians required to move from one part of a
building to another, for the same employer, same type of work, shall receive additionally per person:
$27.00/31.05 $35/40.25
(1) 50 minutes or less:
$50.00/57.50 $75/86.25
On Friday, Saturday, Sunday and legal holidays
$60.00/69.00 $90/103.50
$100.00/115.00 $150/172.50
On Friday, Saturday, Sunday and legal holidays
$120.00/138.00 $180/207
(2) Concerts over 50 min. but not more than 2 ½ hrs:
$65.00/74.75 $100/115
On Friday, Saturday, Sunday and legal holidays
$80.00/92.00 $120/130
$130.00/149.50 $200/230
On Friday, Saturday, Sunday and legal holidays
$160.00/184.00 $240/276
(3) Overtime: Each add’l 15 minutes per
$12.50/14.38 $25/28.75 or prorate $50 for 1 hr.
$25.00/28.75 $50/57.50
(A local contractor must be hired when (3) or more local musicians are used to augment a
traveling show performing locally.)
Side-musician, per hour (minimum 2 hours) $22.00/25.30 $30/34.50
Double scale
Additional time prorated per 15-minute period(s).
January - March 2012
The Nashville Musician
D. REHEARSAL PIANIST: Piano, alone, rehearsing singers and/or dancers for live show:
Per hour (minimum 2 hours)
$36.00/41.40 $40/46
A. Easter, July 4, Thanksgiving Day, & from Dec. 1 through Jan. 1 [except Dec. 25 & 31]
20.00/23.00 125% of applicable rate
B. Dec. 24, 25 & 31 [also Dec. 30 when Dec. 31 falls on Sunday]
Double scale
Overtime (if contracted) per quarter-hour increment per musician $15.00/17.25
prorated at Double scale rate
Overtime (if not contracted) per quarter-hour increment per musician
prorated at Triple scale rate
A. No change in existing language
B. Any combination of two (2) instruments from separate groups listed below will be considered
one (1) double. Multiple instruments within the same group will NOT be considered doubling.
Drummer’s standard outfit consisting of bass drum, snare drum, cymbals, small traps and
tom toms (when used as part of a standard outfit).
Latin rhythm instruments. (Any Latin instrument when used in less than eight bars in
connection with any other instrument or used NOT in rhythm pattern shall NOT in any event be a
doubling instrument).
Any combination of two (2) instruments listed below will be considered one (1) double.
Additional instruments will be considered additional doubles.
Electric guitar.
Acoustic guitar.
String Bass.
Electric bass
Steel guitar
(10) Viola.
(11) Cello.
(12) Dobro.
(13) Dulcimer.
(14) Ukulele.
(15) Harp.
(16) Autoharp.
[DELETED INSTRUMENTS: 6-string rhythm guitar, 6-string electric guitar, 5-string banjo,
6-string (steel) round hole guitar, 6-string (nylon) classical guitar, 12-string acoustic guitar, 12-string
electric bass guitar, 6-string bass guitar, tenor banjo]
A. Additional Scale Wages for Out-of-Nashville Engagements: Extra Per Person:
Over 25 & up to 50 miles
$11.00/12.65 $15/17.25
Over 50 & up to 90 miles
$21.00/24.15 $25/28.75
Over 90 & up to 150 miles
$35.00/40.25 $40/46
Over 150 miles
$.30/$.35 per mile rate established by State of TN
VIII CANCELLATION OF ENGAGEMENTS by leader/contractor/employer or by
member side-musician
Dec. 31 Engagements (and Dec. 24, 25 and Dec. 30 when Dec. 31 falls on Sunday):
Member/Leader/Contractor/Employer employing or member accepting a New Year’s Eve
engagement Oct. 31st, or later, may not cancel the employment except by mutual agreement.
Submitted by the Local 257 Live Music Committee – Kent Goodson (chair), Phil Arnold, Kenny
Vaughan, Andre Reiss, and Chuck Bradley
Board Recommendation: Favorable
The Nashville Musician
January - March 2012
AFM ratifies new Sound
Recording Labor Agreement
ast November, after four rounds of
bargaining over the past year, the AFM
and the recording industry agreed to
terms for a new three-year Sound Recording
Labor Agreement. The contract was
overwhelmingly ratified by AFM members,
and became effective Jan. 13, 2012.
All SRLA recording wages, including
Master, Low Budget and Choral recording
scales, went up two percent upon ratification.
The next two years of the agreement have
additional raises of 1.5 percent and one
percent respectively. H&W amounts were
raised to $24 and $19. All of the new scale
amounts, and a new helpful “cheat sheet”
with correct check amounts clearly spelled
out are posted online at nashvillemusicians.
org for your convenience.
Local 257 President and IEB member Dave
Pomeroy, who was on the negotiating team,
said the new contract is ground-breaking
in several areas. “For the first time ever, the
AFM was able to negotiate a percentagebased revenue stream for recordings licensed
into a variety of consumer products, including
greeting cards, dog dishes and the like. The
resulting revenue will strengthen the Music
Performance Trust Fund and the AFM
Pension Fund,” Pomeroy said. The new Low
Budget Location Recording scale creates a
realistic wage ($250 for 60 minutes of music
and video) for touring musicians backing
artists who are filming a live performance for
sale or promotional purposes.
“This was by far the most unified and
effective AFM negotiating team I have ever
witnessed,” Pomeroy said. “AFM President
Ray Hair did a great job of listening to the
many viewpoints on our side of the table,
summarizing our collective position, and
leading the negotiations towards resolution
with respect.”
The negotiating team included IEB
members, AFM Electronic Media staff,
local officers, rank and file members, and
all chapters of the Recording Musicians
Association, including Tom Wild and Bruce
Bouton from RMA Nashville. “It was very
exciting to see the AFM united, functional
and looking to the future,” said Pomeroy.
Special Note: Limited Pressing and Demo
scales are local agreements and are not part of
the SRLA contract and have not changed at
this time. The Local 257 Scales Committee
is currently discussing these rates, which
have been frozen since 2009. Members will
be notified by email before any rates change,
so be sure the local staff has your correct
email address. For all the new numbers and
details, visit nashvillemusicians.org. n
Minutes of The Executive Board meeting, Sep. 15,
Minutes of the Membership meeting, Aug. 8, 2011
Minutes of the Executive Board Nov. 22, 2011
Minutes of the Membership Meeting, Aug. 8, 2011
Attending: President Dave Pomeroy, Secretary-Treasurer Craig
Krampf, Bruce Bouton (BB), Laura Ross (LR) via conference call,
Bobby Ogdin (BO), Andre Reiss (AR), and Jimmy Capps ( JC).
Denis Solee (DS) arrived at 9:34 a.m.
Not Present: Duncan Mullins
Attendees: Tom Wild, Danny Dickerson, Nir Z, Sam McClung,
Phil Roselle, Jonathan Yudkin, Kent Burnside, Jerry Pentecost, Avery Gardner, Smith Curry, Bill Poe, Liz Ficalora, James Langdon,
Tom Roady, Ernie Carlson, Dave Martin, Will Smith, Denis Solee,
Steven Sheehan, Adam Shoenfeld, Charlie Morgan, Mike Payne,
Michael Ferguson, Gary Miller, Ward Stout, Ted Wagner, Craig
Krampf, Steve Garrett, Tim Lauer, Dave Pomeroy.
Meeting called to order at 6:14 p.m. by President Dave Pomeroy.
Roll Call of Officers: President Dave Pomeroy, Secretary-Treasurer
Craig Krampf. Executive Board: Denis Solee
Hearing Board: Jonathan Yudkin
Parliamentarian: Denis Solee
Secretary’s Report
Minutes of the May 31, 2011 membership meeting were distributed. There were no objections or changes. The minutes will appear
in the next issue of our magazine.
There was none.
President’s Report
Pomeroy reported on the following:
1. The state of the pension fund and the great job the new pension
board is doing.
2. Lawsuits may be filed against two of our “top offenders” for
outstanding bills. They owe Local 257 musicians large sums of
3. Progress at the last IEB meeting on the Joint Venture Agreement and the Single Song Overdub Scale. The agreements have
been reworked and clarified.
4. Progress regarding an agreement that would enable publishers to
release demos in a more cost-effective manner.
5. Personnel changes here at the local. Kathy Shepard has retired
and Neal Thorsbakken resigned to pursue a career in management.
Rachel Mowl will take his place at the front desk and be the new
member coordinator.
6. The musician loading zone signs should be up on Lower Broadway within the next month.
7. The success of the recent NAMM show.
8. The SRLA negotiations are progressing well, but slowly.
9. The AFM and MROC (Musicians’ Rights Organization of Canada) have reached a settlement.
Treasurer’s Report
Krampf distributed and discussed the treasurer’s report. MSC:
Dave Martin/Denis Solee to approve report.
Pomeroy opened up the floor for Q. and A.
Adam Shoenfeld, Tim Lauer, Tom Roady and Nir Z spoke on several issues, including the need for solidarity of AFM members in
filing contracts for recording sessions.
There being no further business, Pomeroy thanked everyone for
MSC: Tom Wild/Dave Martin to adjourn at 7:25 p.m.
Respectfully submitted: Craig Krampf, Secretary-Treasurer
Pomeroy called the meeting to order at 9:22 a.m.
Pomeroy thanked executive board members for their three years
of service. He said there would be one more board meeting before
the year’s end.
President’s Report
President Pomeroy reported on the following items:
1. Pomeroy explained the local would be hiring two new
employees to replace Kathy Shepard, who retired this past
August, and Janet Butler, who will be retiring at the end of the
year. Following several interviews, two experienced candidates for
employment were hired: Leslie Barr, who will become the director
of the live department, and Laura Birdwell, who will replace Janet
at the front desk. A discussion took place. MSC to approve the
new hires: LR and BB.
2. The SRLA negotiations have concluded and an agreement has
been reached.
3. As reported at the last meeting, there have been a number of
high profile non-union recording sessions that have recently taken
place in Nashville. Pomeroy has been investigating and holding
4. The CMA, RFD Network and GAC. A discussion followed.
5. Dues payments for the election committee. MSC to take half
off their annual dues for agreeing to serve (all were elected by
acclamation so no physical election was held): LR and JC. [Laura
left the meeting]
Secretary’s Report
MSC to approve the minutes of Sept. 15, 2011: DS and JC.
Treasurer’s Report
Copies of the financial statements were distributed. Krampf
explained the report. MSC to approve the financial report: DS
and AR.
New Business
A proposal was put forth by Pomeroy and Krampf that new
members who join from Dec. 1, 2011, until the end of the year
should not be required to pay annual dues for the rest of 2011. A
short discussion took place. MSC to approve this plan: JC and
New membership applications were reviewed. MSC to accept the
new applicants: BB and DS.
MSC to adjourn meeting: BO and DP. Meeting adjourned at
10:22 a.m.
Respectfully submitted by Craig Krampf
January - March 2012
The Nashville Musician
Attending: President Dave Pomeroy, Secretary-Treasurer Craig Krampf,
Bruce Bouton (BB), Laura Ross (LR), Denis Solee (DS), Bobby Ogdin
(BO), Andre Reiss (AR), Jimmy Capps ( JC) and alternates Tim Smith
(TS) and Tom Wild (TW).
Not Present: Duncan Mullins
Pomeroy called the meeting to order at 8:31 a.m.
To assure financial matters could be discussed before any board members
had to leave, there was a request to take the agenda out of order. The
first order of business was a proposed dues structure for 2012. Krampf
distributed copies of various dues structures that illustrated the financial
impact for the local. Following an explanation of each scenario, MSC to
give a favorable recommendation of the regular dues of $230 ($235 with
voluntary) and life dues of $115 ($120 with voluntary): BO and AR. The
proposed dues for 2012 will be submitted to the membership for approval
at the Nov. 7, 2011 membership meeting.
Treasurer’s Report
Copies of the financial statements were distributed. Krampf explained the
report. MSC to approve the financial report: TS and TW.
President’s Report
President Pomeroy reported on the following items:
1. The SRLA negotiations are proceeding slowly, but in a positive manner.
Meetings will continue in New York in early November and it is hopeful a
deal can be struck.
2. There have been a number of high profile non-union recording sessions
that have recently taken place in Nashville. Pomeroy will investigate.
3. The AFM and MROC (Musicians’ Rights Organization of Canada)
have reached a mutually beneficial settlement.
4. Lawsuits may soon be filed against two producers for outstanding bills.
They owe Local 257 musicians large sums of money.
5. The recent success of getting two well-known English artists-producers
to do work on the card. The airing of archival Nashville TV shows on the
RFD Network, and the PBS special, Opry Memories, owned by Gaylord
6. The CMA.
Secretary’s Report
MSC to approve the minutes of June 27, 2011: JC and AR.
BB left the room due to prior commitment.
New business
A bylaw proposal that would make our name change to the Nashville
Musicians Association official was presented to the board:
Whereas, on May 18, 2009, a bylaw amendment was passed unanimously
by the membership changing the name of the Nashville Association of
Musicians to the Nashville Musicians Association; and
Whereas, this name change has proven to be beneficial in many ways as
Congratulations to Local 257’s new board members: (L-R)
Bruce Radek (Hearing Board), and Executive Board members
Jonathan Yudkin, Tim Smith and Tom Wild.
was its intention; and
Whereas, the resulting change to the bylaws contained both names to
avoid confusion as we made the transition to our new name; and
Whereas, there is still some paperwork that must be completed in order
for us to legally use the name “Nashville Musicians Association” with
banking institutions, the State of Tennessee, and the IRS, including a
clearly written bylaw describing our name; therefore be it
Resolved, that Article 1, Section 1 shall be changed as follows, effective
immediately on approval:
(Existing Language) This Association is and shall be known as the
Nashville Association of Musicians, Nashville
Musicians Association, Local 257, American Federation of Musicians.
(Proposed Language in Bold) This Association (known as the Nashville
Association of Musicians 1902 - 2009) is and shall be known as the
Nashville Musicians Association, Local 257, American Federation of
Musicians of the United States and Canada.
Respectfully submitted: Dave Pomeroy and Craig Krampf
There was a brief discussion. MSC to give a favorable recommendation
of bylaw as amended: AR and BO. The name change bylaw will
be submitted to the membership for approval at the Nov. 7, 2011
membership meeting.
New membership applications were reviewed. MSC to accept the new
applicants: BO and DS.
MSC to adjourn meeting: BO and TS. Meeting adjourned at 10:14 a.m.
Respectfully submitted by Craig Krampf
State of the Local
By Dave Pomeroy
t’s hard to believe it has been three
years since I was first elected president
of the Nashville Musicians Association.
Looking back, I am very proud of what we
have accomplished so far; but in many ways,
it feels like we are just getting started.
We have put together a great team of people
working here in the office, and our collective
mission is to give our members the highest
possible level of service. We have worked
our way through a lot of challenges thus far,
and I am excited about the opportunities the
future will bring.
I am proud we were recently able to get
special Musicians Loading Area signs put
up in front of many downtown clubs. This
simple show of respect was a great example
of functional cooperation between Local
257, the Mayor’s office, Metro Police, Public
Works, and the Traffic and Parking Council.
Many thanks to all of them for their help.
It’s all part of our effort to do more for live
musicians in Nashville.
Let’s get real
I believe that transparency and honesty are
critical elements of our future success. If we
can’t speak frankly among ourselves, then
we really do have a problem. We are finally
talking about the great taboo – working “off
the card,” and folks, it’s time to get real or
hasten our own demise. The music we create
has value and you are giving away its earning
potential for you when you work without a
contract. If you don’t ask if it can be done on
the card, you can bet it won’t be.
Every time you agree to work off the
card, whether it’s in a big studio or in your
home recording space, you not only hurt
yourself but all of us, too. Some of you may
say, “It’s just a little overdub session for an
independent artist,” or “This won’t ever be
a hit,” or better yet, “I just wanted to keep
it simple and not deal with the paperwork.”
New Grooves
That one really gets me.
We are here to help you with every aspect
of recording contracts, and all you have to
do is provide us with a minimal amount of
information and we will do the rest. As I
have said many times, any of you can come
talk to us honestly about situations you
encounter and we will listen and help you
find real world solutions -that’s our job.
There are solutions, but you do have to use
them for them to be effective! Just because
you worked at home or in a small studio for
someone for a flat fee, doesn’t mean that you
shouldn’t be protected by a union contract or
get a pension contribution.
The new Single Song Overdub Scale
was created specifically for home recording
situations. This agreement protects both
parties and can be executed online. There is
a $100 a song minimum with no maximum.
All scale, H&W, and pension amounts are
rolled into whatever round-number rate you
negotiate. This is the only AFM recording
contract that allows you to pay into your own
pension. Once you have used it a time or
two, you will find it is not that complicated
and the benefits far outweigh the supposed
hassles. It’s about protecting your intellectual
property – when you work without a contract
you will NEVER make another dime in
royalties, Special Payments, new use, re-use
and more.
Film and TV
One of the great myths we hear almost every
day is that the way to success in landing
songs into film and TV soundtracks lies in
circumventing union agreements and that
only non-union recordings will ever make
it into film and TV. This is simply not true.
This misconception has created a Wild West
mentality based on misinformation. What is
true is that those who tell you that non-union
recording is the way to go will gladly use that
“flexibility” to stick it to you. We can help
you figure out how to file this work properly.
Thousands of AFM recordings make
it into TV and film every year. Films with
original AFM scoring pay into the Film
Musicians Secondary Markets Fund, and
all musicians, even those on records used
in the movie, share in those residuals. The
film’s producers contribute just one percent
of the film’s post-theater revenues (DVD
sales and rentals/TV broadcasts, etc.) to
the Film Musicians Secondary Markets
Fund. So next time someone tries to tell you
that moviemakers can’t afford to use union
musicians, ask them if keeping 99 percent of
the money after their film leaves the theaters
is not enough.
January - March 2012
Video game soundtracks
An area of great interest at the moment
is video game soundtracks. For those of
you who don’t play video games, many
games have large orchestral scores for their
soundtracks. A multi-billion dollar company
recently came to town to record one of these
soundtracks — non-union. Some musicians
took the work without knowing it was not
a union session, as many were not informed
until after the fact, which is even more
Nonetheless, I am working very hard
to turn this negative event into a positive
one for our local and the AFM. Since this
happened, we have had a lot of unprecedented
and productive dialogue among Local
257 members about this in particular and
non-union work in general. This type of
communication is essential. I am currently
in serious discussions with this company to
bring this work back into the union fold, and
I am optimistic we can work this out.
Looking forward
I am grateful to have been re-elected to
another term as your president and I am
excited about the results of the changes we
have made. Craig and I and our staff all
share a passion for helping musicians, and
with your input and involvement, I know
we can do even more together. Our numbers
are increasing as young musicians and new
Nashvillians are joining, and former members
are coming back too. We are reaching out
to schools, local live musicians, and civic
leadership, and changing the perception of
Local 257 in our community.
Nashville musicians have had a long and
successful tradition of working under AFM
contracts for records, TV, film and symphonic
work. Music City would not be the talent
magnet it has been for so many years without
the economic impact of Local 257 and its
members. I hope you will remember that a
chain is only as strong as its weakest link, and
if we stick together, we can do much more
than we can as individuals.
It’s all part of a much bigger picture,
and as the world looks at Music City with
admiration for our artistic contributions, we
are in a unique position to help musicians
take care of business as well. Let’s not miss
this opportunity — there may not be another.
Thanks for believing in the value of doing
the right thing. That’s what we stand for, and
we are honored to serve you.
Dave Pomeroy is president of AFM Local 257.
You can reach him at [email protected]
The Nashville Musician
By Craig Krampf
reetings brother and sister musicians.
As most of you know, Dave and I
were re-elected in November by
acclamation. I would like to thank you for
your show of support. I am truly honored to
be allowed to continue to serve our union
and our members. What I said in my first
column still holds true: I understand the
trust and responsibility that comes with
this job, and I want you to know that I have
jumped into this new adventure with the
same passion and dedication that I have for
playing music.
That first column also contained some
of the short-term goals we hoped to put in
place in our first term. It is a good feeling to
know we were successful.
Sound healthcare
Early on, we established a relationship with
Sound HealthCare. Many of our members
have comparison-shopped and switched
their health insurance coverage to Sound
HealthCare. Most have reported that they
are happy with the savings and the choice of
plans available. If you are shopping for health
care I urge you to contact R.J. Stillwell by
email at [email protected], or call
(615) 256-8667.
The website
Reinvention of the Local 257 website was
a high priority when we were first elected.
We undertook a complete redesign, and now
the site is extremely user-friendly. There
is an assortment of free promotional tools
for members, and downloadable scales and
contracts for employers, as well as pension
guidelines and other forms and worksheets.
News of interest to members is updated
The message board offers several forums,
including a section for buying and selling
musical instruments and gear. Members now
The Nashville Musician
have the option to pay annual dues online.
Employers have a free area to post jobs.
We now have one of the best sites within
the AFM. We are also on Facebook and
Twitter; links to each are on the home page,
so members can friend or follow us.
In 2009 I said our new site would become
a sourcebook and referral service of musical
talent for people who need to hire a musician
or musical ensemble for their event. While
it is true that several musicians have found
work through the site, we need your help to
take this to a higher level.
Whether or not you utilize the new AFM
booking agency, you should still build a free
profile for yourself, your band or other side
project, and post your gigs on our gig calendar.
Please take the time to post and upload your
videos, pictures and MP3s on your profile.
We want to start spreading the word to the
public that our website is the place to come
if you are looking for a musician or group, or
a show to attend, but we need our members’
full participation to make this successful.
If a visitor to the website needs to find a
piano teacher for his daughter, or needs a
band for a party or wedding, he or she should
be able to find musicians on our site. Music
lovers looking for the best gigs should always
find them on our website. Please take a few
minutes and help yourself by utilizing our
free promotional tools.
Think tanks and seminars
When Dave and I were first elected, we
realized that any organization needs a lot
of communication to be successful. We
envisioned regular informal gatherings
where members could come together and
discuss items of concern or anything else that
was on our minds. These meetings have been
very successful. Something I learned early
on: Although we love large turnouts, equally
important is the quality of the discussions.
Some of these meetings have been fantastic
and all have been worthwhile. Your input
is invaluable and helps us focus on your
concerns. These gatherings will continue
during our new term.
We have also held several seminars that
were hugely successful. In conjunction with
Music Starts Here, we held open events on
session and touring work. This year, we will
host a series called Pro Tools for Musicians.
Other seminars are in the planning stages.
The Nashville Musician
When we took office, we felt the newspaper
needed a fresh look and more interesting
content. We decided to transform our
publication to a magazine format, and
January - March 2012
reimagine the editorial content. Money and
expenses are always considerations for any
organization, but our concept was that with a
better product, more advertisers would come
on board, which became reality. We continue
to explore ways to create more income with
our magazine. Even at this point, there is no
simple way to measure the benefits to our
local, economical and otherwise, of printing
a publication that has become known as a
standard bearer within the AFM.
Transparency and solidarity
In my first column I offered a pledge:
complete transparency, and diligent fiscal
We have operated this way during the last
three years and I will make the same pledge
to you once more. We have brought down
expenses and cut our deficit and our mission
on that front will continue.
The country continues to be in a precarious
economic situation, and now attempts at
union busting have also entered the mix. We
must continue to operate in solidarity, more
than ever, to stand up and defend what has
been gained by our union.
The word faith is derived from the Latin word
fidere, meaning to trust. Faith is an extremely
relevant part of nearly everyone’s life. It is
a requirement of any kind of relationship
or devotion and a compelling force that
drives many people to do incredible, selfless
deeds. Without faith, life would be a lonely
uneventful journey with no hope for the
The dictionary says hope is the emotional
state — the opposite of which is despair —
that promotes the belief in a positive outcome
related to events and circumstances in one’s
life. It is the feeling that what is wanted can
be had or that events will turn out for the
As we look to the future, my wish and
prayer is that we can do it with energy and
enthusiasm fueled with the spirit of faith
and hope. Of course, sometimes life is hard,
especially when we go through difficult
times, but still, we need to try our best.
I will close as I did back in 2009, for this
still holds true for me: Together, we can really
work for and contribute to the betterment of
Local 257, the AFM and Nashville. After all,
we are Music City and we must do everything
we can to continue to live up to that name.
Craig Krampf is secretary-treasurer of AFM
Local 257. You can reach him at [email protected]
Heard on the Grapevine
Pomeroy, Krampf
elected to new terms
Live music update:
ocal 257 is committed to having a
positive impact on Music City’s live
scene, in addition to increasing our
efforts to help Nashville’s touring musicians.
The new Musicians Loading Area signs in
front of music venues on Lower Broadway
were created in cooperation with the Mayor’s office, Police Commissioner, and Metro
Public Works to allow musicians the same
loading rights that beer trucks have enjoyed
for years. It’s a positive first step in the right
direction. We are working towards getting
the signs in front of every venue in town with
loading area issues.
The new director of Local 257’s Live and
Touring Musicians department is Leslie
Barr, who brings many years of Nashville
music business experience to the job. She is
the contact for those of you who are out on
the road or have questions about local live
scales and filing contracts for live engagements. She and Rachel Mowl at the front
desk can help you with information about
Music Performance Trust Fund gigs. Leslie is our Member Committee coordinator
as well, and is also the point person for the
Nashville branch of AFM Entertainment,
the new federation-operated online booking
and referral service.
The initial focus of AFM Entertainment
will be booking AFM members for corporate work, parties and wedding gigs nationwide. You must register with AFM Entertainment online at afmentertainment.org to
be able to book gigs through them. When
publicly launched later this year, AFM Entertainment will feature an easy-to-use website and a dedicated toll-free phone line to
AFM staff, who will handle all communications with potential purchasers, and make
sure net wages will be at or above the local
union’s wage scales. A 15 percent commission will be charged in accordance with the
AFM Booking Agent agreement. Stay tuned
for further developments as AFM Entertainment takes off.
Another promotional tool for members is
available on the Local 257 website, nashvillemusicians.org. The live department will be
glad to help you get set up to build your per10
New signs mark special musician loading
zones in front of the venues on Lower Broad.
(Photo by Dave Pomeroy)
sonal profile to help you increase your work.
And, if you have a band or other side project
to promote, you can also build a profile for
them, list your gigs on our website, and enjoy
some free advertising for your act.
Please take note of the scale proposal
printed on Page 6 from the Live Music committee to raise a number of our live performance scales. If you want to be part of the
discussion and help make our decision when
we vote on this proposal, please come to the
next general membership meeting at 6 p.m.
on Monday, March 12, and speak up.
Finally, Nashville Jazz Orchestra founder
Jim Williamson has announced that the NJO
will begin a weekly residency at the Holiday
Inn Vanderbilt Commodore Lounge on
West End every Monday, beginning on Feb.
20 from 5:30 to 7 p.m. If you have never experienced a Nashville big band, do yourself
and your ears a favor, and go check the Nashville Jazz Orchestra out and support our local musicians. There is plenty of free parking,
too. Thanks to the Commodore Lounge for
supporting local jazz! — Staff report
January - March 2012
resident Dave Pomeroy and SecretaryTreasurer Craig Krampf were reelected by acclamation on Nov. 7, 2011
after nominations for their positions resulted
in the submission of no other candidate
Pomeroy said “I am grateful for the faith
and confidence that the members of Local
257 have placed in Craig and I by reelecting
us. I am looking forward to improving
everything we do for our members.”
The nomination meeting was held at the
local following the general membership
meeting, and resulted in one nomination for
Sergeant at arms, three nominations for AFM
Convention Delegate, two nominations for
trustee, seven for the hearing board and nine
for the executive board.
On Nov. 8 one nominee for the executive
board was declared ineligible, and another
voluntarily withdrew his nomination, leaving
seven nominees for the executive board.
This left the number of nominees
corresponding exactly to the number of
elected positions. Therefore, in accordance
with AFM and Local 257 bylaws, all nominees
were declared elected by acclamation, making
an election unnecessary.
“Not having to hold an election is a boon
to Local 257’s finances. The election was
projected to cost $3,300,” said Krampf.
All those newly-elected were sworn in the
first week of January, 2012.
Below is a list of all officers, board
members and delegates. All will serve a
three-year term.
President: Dave Pomeroy
Secretary-Treasurer: Craig Krampf
Executive Board: Jimmy Capps, Duncan Mullins,
Andre Reiss, Laura Ross, Tim Smith, Tom Wild,
Jonathan Yudkin
Hearing Board: Michelle Voan Capps, Tiger
Fitzhugh, Teresa Hargrove, Bruce Radek, Kathy
Shepard, John Terrence, Ray Von Rotz
Trustees: Ron Keller, Biff Watson
Sergeant At Arms: Chuck Bradley
Convention Delegates: Bruce Bouton, Craig
Krampf (by virtue of office), Laura Ross, Tom
— Staff report
The Nashville Musician
257 members shine at CMA awards
Winners of the 45th annual CMA awards include a bevy of Local
257 members who garnered an assortment of honors, from Taylor
Swift as Entertainer of the Year to Kelly
Clarkson in the Musical Event category
for her duet with Jason Aldean, “Don’t
You Wanna Stay.”
The Band Perry scored wins for New
Artist and Single of the Year for “If I Die
Young,” an award shared with producer
Paul Worley. Band member Kimberly
Perry also won Song of the Year, for “If I
Die Young.”
More 257 winners included Blake
Shelton for Male Vocalist, Sugarland
in the Vocal Duo category, and Music
Video of the Year winner Kenny Chesney
Blake Shelton
for “You and Tequila.” Guitarist Mac
McAnally took the award for Musician of the Year.
The event was held at the Bridgestone Arena on Nov. 9 in
National Fiddler Hall of Fame tabs Paul, Baker
Local 257 members Woody Paul, a member of Riders In The Sky,
and the late Kenny Baker have been selected as 2012 inductees into
the National Fiddler Hall of Fame.The induction gala will take place
April 14 at Cain’s Ballroom in Tulsa, Okla.
Baker, considered one of the most influential fiddlers in bluegrass
music, was a long-time member of the Bill Monroe band, the Blue
Grass Boys. Monroe once called Baker “the greatest fiddler in
Known as “King of the Cowboy Fiddlers,” Paul said, “It’s amazing
... and I’ve never practiced for it.” Other inductees for the 2012 class
are Herman Johnson and Keith Coleman. Riders In The Sky will take
center stage as headlining performers during the celebration.
Previous National Fiddler Hall of Fame inductees include Roy
Acuff, Bob Wills, Dick Barrett, Johnny Gimble, Claude “Fiddler”
Williams, Johnnie Lee Wills, Buddy Spicher, Rufus Thibodeaux and
Chubby Wise.
The National Fiddler Hall of Fame is a non-profit organization
committed to offering workshops, mentoring programs and
educational community outreach.
NSAI Hall of Fame adds Jackson, Shamblin
Two Local 257 members were among
several artists and songwriters inducted into
the Nashville Songwriters Hall of Fame
(NaSHOF) in October.
Country superstar Alan Jackson and hit
songwriter Allen Shamblin were among
those celebrated at the 41st anniversary
event in Nashville.
Allen Shamblin
Other artists and writers inducted
included Garth Brooks, John Bettis and Thom Schuyler.
NaSHOF’s sister organization, NSAI (Nashville Songwriters
Association International), also presented its annual Songwriter
Achievement Awards at the event.
Local 257 winners included Song of the Year for Kimberly Perry’s
“If I Die Young,” and Songwriter/Artist of the Year to Taylor Swift,
who scored for the hits “Back To December” and “Mean.”
The Nashville Musician
David Balph wins
Silver Star award
Trumpeter David Balph, a
life member of Local 257,
was honored with the Silver
Star award last October for
his performance of “Stardust,”
in finals held at the Ryman
The award is presented
recognizes talented seniors
with a competition judged by
celebrities, this year including
Mel Tillis, Bonnie Bramlett and Billy Burnette.
Balph settled in Nashville in the mid-60s at the conclusion of a
walk from Los Angeles across the country, originally intended to help
he and his brother land a spot on the Jack Parr Show, an experience he
recounts in his book The Big Walk, available from his website, www.
davidbalph.com. He performs at clubs and theaters across the U.S.,
leads a Dixieland band at Opryland, and also plays on the General
Jackson showboat.
The Silver Star prize included $5,000 in cash, and drew about 300
competitors aged 60 and older.
Peter Frampton recovers long-lost Les Paul
A black 1954 Gibson Les Paul Custom
guitar missing for over 30 years was
returned to its owner, Peter Frampton,
last month in Nashville. The axe, used on
sessions with George Harrison and Harry
Nilsson, was thought to be destroyed in
1980 after a cargo plane crashed en route
to Panama.
Frampton used the guitar on Frampton
Comes Alive and two Humble Pie
records. Two fans managed to track the
instrument down on the Dutch island of
Curacao with the assistance of the local tourist board.
“I am still in a state of shock, first off, that the guitar even exists, let
alone that it has been returned to me … ,” Frampton said. “Now that
it is back I am going to insure it for two million dollars and it’s never
going out of my sight again. It was always my number one guitar and
it will be reinstated there as soon as possible.”
Mattea, Cox elected to West Virginia Music HOF
Singer Kathy Mattea and bassist Billy Cox were inducted into the
West Virginia Hall of Fame last October. The Local 257 members
were recognized as West Virginia-born artists who have made
significant contributions to the nation’s musical heritage.
Grammy winner Mattea is known for country hits such as
“Where’ve You Been,” and “Eighteen Wheels And A Dozen Roses,”
as well as folk and traditional recordings. Cox was the longtime bassist
for Jimi Hendrix. Other honorees at the ceremony included singer
Connie Smith, drummer Butch Miles, and songwriter Jack Rollins.
Huntington native Peter Marshall and filmmaker Morgan
Spurlock were hosts for the event. Other Local 257 performers and
presenters included Charlie McCoy, Tim O’Brien, Marty Stuart, and
Wayne Moss.
January - March 2012
as music
Norbert Putnam
and David Briggs
(center left and
right) received their
Cecil Scaife awards
from Scaife’s widow
Sherytha (far left)
and his daughter
LaRawn Scaife Rhea.
Below, Briggs reacts
to a wisecrack from
the audience as
257 president Dave
Pomeroy presents
him with his AFM 50year membership pin.
By Daryl Sanders
Photos by Alan Mayor
ack on Oct. 25 at Ben Fold’s Studio,
aka world-famous RCA Studio A,
The Cecil Scaife Visionary Award
ceremony was held and a Local 257 meeting
almost broke out.
Legendary 257 members David Briggs
and Norbert Putnam were the recipients of
the prestigious award, and more than a few
of their union brothers were in attendance,
including a trio of Nashville music icons
— Tony Brown, Ray Stevens and Harold
Bradley — who took part in the ceremony.
Since 2008, The Cecil Scaife Visionary
Award has been given annually to an
individual whose life and work have made
it possible for future generations to realize
careers in the music industry. Cecil Scaife
was such a visionary — he is responsible for
the creation of the celebrated music business
program at Belmont University now known
as the Mike Curb College of Entertainment
and Music Business. Mike Curb, Tony
Brown and Wynonna Judd are the three
previous recipients of the award.
Briggs and Putnam are the first
corecipients, but it seems fitting when you
consider how intertwined their careers have
been: They were both original members of
the famous Muscle Shoals rhythm section —
Briggs on keys and Putnam on bass — and
moved to Nashville together in 1965, where
they were soon first-call for the growing
number of pop, rock and R&B sessions being
recorded in Music City, including numerous
sessions with the king of rock & roll himself,
Elvis Presley. They were also both members
of the pioneering country-rock ensemble,
Area Code 615.
Late in 1969, the pair launched their own
publishing company (Danor Music) and
opened Quadrafonic Sound Studio, which
became the recording destination for some
of the biggest names in rock and pop music,
including Joan Baez, Neil Young, Linda
Ronstadt and Dan Fogelberg.
After Kris Kristofferson asked Putnam to
produce the Joan Baez album Blessed Are...,
which included the biggest hit of her career,
“The Night They Drove Old Dixie Down,”
opportunities to produce other artists came
pouring in. He went on to lend his gold and
platinum touch to records by Fogelberg,
Jimmy Buffett, New Riders of the Purple
Sage and Buffy Saint-Marie, to name a few.
After he and Briggs sold Quadrafonic, he
opened Bennett House Studios in Franklin,
Briggs not only continued to be an indemand session player and leader in the
ensuing years, but also distinguished himself
as a publisher. He cofounded a company with
award-winning songwriter Will Jennings
who cowrote multiple No. 1 hits with Steve
Winwood, Whitney Houston and others.
After the sale of Quad, he opened House of
David Studios.
“Norbert and David have together
exemplified their desire to share their gifts
in many ways during their lifetime,” Scaife’s
daughter LaRawn Scaife Rhea said of
the recipients. “They have reached out to
individuals through the years to help them
find their own path in the entertainment
industry. Their unselfish desire to help others
learn from a lifetime of experiences is a large
part of what makes Norbert Putnam and
David Briggs the perfect 2011 recipients of
The Cecil Scaife Visionary Award.”
The ceremony itself was in many ways
unforgettable. Brown, Stevens and Bradley
all spoke to the attendees about the recipients.
Brown had the audience roaring with several
heartfelt — and hilarious — memories of
how Briggs and Putnam helped him when
he first began to make the move from touring
musician to producer. When Stevens took the
stage, he pulled out a piece of paper from the
inner pocket of his sports jacket, glanced at
it and said “It’s always an honor to be at any
event honoring Owen and Chet.” After the
howls of laughter subsided, he added, “This
is an old jacket,” which caused the crowd to
erupt once more.
Later in the evening when Bradley went
onstage, he opened his remarks by saying,
“I had a nightmare last night that I had to
January - March 2012
follow Tony Brown and Ray Stevens at an
award event,” which got another huge round
of laughter from the audience.
The recipients also received congratulatory
messages which were read aloud by MC Dan
Daly from Baez, Kris Kristofferson, Dolly
Parton and Barbara Mandrell, the latter
three also members of Local 257.
The ceremony opened with remarks by
Scaife’s daughter LaQuela Scaife Cude and
the award was presented by Scaife’s wife
Sherytha and daughter LaRawn.
As it turned out, Briggs was honored
twice that evening — Local 257 president
Dave Pomeroy surprised him with his AFM
50-year membership pin.
After the ceremony, Putnam said, “Cecil
Scaife was a true visionary, and to receive this
award in his name is a tremendous honor.”
Briggs echoed those sentiments. “It’s a
great honor — it was more of a surprise than
Briggs recalled receiving invaluable
encouragement early in his career from Scaife
during a session at Sam Phillips’ studio on
Seventh Avenue in Nashville. “Cecil, who
was the manager of the studio ... came up to
me and said, ‘Don’t ever give up, you’ve got as
much chance as anyone in this business to be
successful. Just don’t give up.’ That stuck with
me for years.
“And that’s what I’m saying [to young
people], ‘don’t give up’ — the same thing
Cecil said to me 50 years ago,” he added. n
The Nashville Musician
The Nashville Musician
1. Local 257 Life member and pioneering rock & roll drummer D.J. Fontana
was honored at the Country Music Hall of Fame and Museum’s quarterly program “Nashville Cats” in October. Here he is interviewed by host Bill Lloyd
below a vintage photo of Fontana backing Elvis Presley. 2. Craig Krampf
presents guitarist Spider Wilson with his AFM 50-year pin and congratulatory
letter. Spider played on the Opry for 53 consecutive years, as well as 29 years
on the Ralph Emory Show. Congrats on this honorable milestone, Spider. 3.
(L-R) Ralph Pace Jr., Pete Barbeau, Steve Ebe and Tom Hurst were among
the Nashville drummers gathered at Fork’s Drum Closet on Jan. 14 to raise
awareness for world hunger, joining an estimated 5,000 drummers around
the world for the event. 4. Dave Pomeroy presents tuba player and bassist
Rex North with his long overdue AFM Life membership pin. Rex joined the
musician’s union in Oklahoma City at the age of 17 years old when he started
playing tuba in a rodeo band. Cheers to Rex on this momentous milestone. 5.
Drummer Steve Holland (center) is congratulated by Pomeroy and Krampf for
earning his AFM 25-year pin.
January - March 2012
Gallery cont.
Riders in the sky
Defenders of the Cowboy Way
n a dressing room just offstage
at the Ryman Auditorium,
four men dressed as cowboys
from another planet sat with
country music giant Jim Ed
Brown watching the Vanderbilt-
Tennessee football game. Onstage,
the Marshall Tucker Band was
making its Grand Ole Opry
debut, rocking an appreciative
audience, country style.
It was a strange,
all-American night, and the four
cowboys, known collectively as
Riders In The Sky — Ranger
Doug, Too Slim, Woody Paul,
and Joey the Cowpolka King —
sat in the
dressing room
1. Dave Pomeroy congratulates multi-instrumentalist, recording artist and local
saxophone legend Jay Patten when he stopped by the union office for his overdue AFM 25-year pin. Jay joined Local 257 on Jan. 17, 1979. 2. Keyboard and
B-3 player Stephen Shepherd receives his AFM 25-year pin and congratulatory
letter from Craig Krampf. Stephen toured and recorded with Ronnie McDowell for 17 years. 3. Pomeroy attaches an AFM Life pin to the lapel of multiinstrumentalist David “Doc” Livingston. Congrats on your achievement, Doc. 4.
Longtime 257 employees Janet Butler (left) and Kathy Shepard are shown here
at their retirement party in December. Thanks to both ladies for many years of
great service – you will be missed. 5. Guitarist Rick Vito (right) and bassist John
Terrence mentor Davidson County high school students during Career Day held
at Bridgestone Arena last fall. Drummer Krampf and harmonica player Shannon Williford also participated in the annual event. 6. Guitarist Gregg Galbraith
receives his AFM Life pin and congratulations from Pomeroy. Gregg became a
Local 257 member and first played on the Opry in 1964. Kudos to Gregg.
By Warren Denney
January - March 2012
The Nashville Musician
Riders In The Sky (L-R): Too Slim,
Joey the Cowpolka King, Ranger
Doug and Woody Paul.
The Nashville Musician
January - March 2012
cheering for Vanderbilt, comfortable at this
surreal nexus. The band has, after all, traded
in the abstract for nearly 35 years as the preeminent purveyors of Western music in a
world more suited to an industrial technobeat.
They have thrived — Riders In The Sky
have been Opry members for almost 30
years, have won two Grammy awards, have
been honored as Academy of Western
Artists award winners multiple times,
and are Western Music Association Hall
of Fame members — through excellent
musicianship, incredible harmonies, high
(and low) comedy, and as exemplars of the
ever-present Cowboy Way.
“I think we’re entertainers first and
foremost,” Ranger Doug said. “But always
in the back of our minds, we’re well aware
that we’re the primary people keeping this
style alive — we have been for a number of
years. And we’re very proud to be carrying
that banner forward, and introducing two
new generations now to such a wonderful,
classic style.
“[When we first got together] we just
loved the music, just loved to play — it was a
great challenge. I guess we all hoped it could
lead to a future, but who’d have dreamed it
would lead to 34 years together? I guess we
always hoped in the back of our minds that
this could happen.”
Touring is the Riders’ bread and butter,
still ringing up over 200 shows a year, but the
band has also been immortalized through
movie soundtracks (Toy Story 2, Monsters,
Inc.), a CBS Saturday morning television
series, cartoon soundtracks, and incredibly,
as radio stars through Riders Radio Theater
in the era of the music video. Ranger Doug
presently hosts Ranger Doug’s Classic Cowboy
Corral on satellite radio.
For the record, Ranger Doug (Doug Green)
holds forth on guitar and baritone lead vocal;
Too Slim (Fred LaBour) is on upright bass
and vocals; Woody Paul (Paul Chrisman) is
on fiddle and vocals; and Joey the Cowpolka
King ( Joey Miskulin, a member of the Polka
Hall of Fame) plays accordion, produces the
Riders and contributes vocals, as well.
“What makes it translate really well is that
it’s a show,” Joey said. “It’s not just the music.
The great thing about a Riders In The Sky
show is that it is comedy, it’s music — it’s
total entertainment — and that translates
well to the audience, young or old.”
Comedy is the gateway to that show — in
fact to the whole Riders’ experience.
“We all grew up with Mad magazine, The
Ernie Kovacs Show — there’s always been an
appreciation of irreverent humor,” Ranger
Doug said, framing the four in a land that
time has all but forgotten.
“Even on the first Riders In The Sky show,
we carried saddles out,” Too Slim recalled.
“We had an electric campfire, and a live
saguaro cactus in a washtub. It weighed about
150 pounds — stood six feet high. It lasted
about a year, then started turning black. We
smoked it. I was a great disappointment to
my parents.”
Too Slim elaborated on the importance of
comedy to the Riders. “I think it opens the
door and brings people in to hear Western
music that would not come in otherwise,” he
said. “It can be a lighthearted look back if
you like — a lot of people today don’t even
know who Roy Rogers was. They don’t know
Gene Autry or Sons of the Pioneers, but they
like a good joke and they like guys having a
good time when they play, and they wind up
hearing beautiful music that they don’t know
anything about. It brings them in the door.”
The crowds offer a diverse demographic,
as multiple generations are usually in
“There are a lot of
great young players
in bluegrass, and I
know that eventually
we’re going get
some great young
players and singers
in Western music.”
attendance. They traverse the country
each year from coast to coast, with special
emphasis, predictably, in the West — bedrock
towns like Spokane, Wash., or Gillette, Wyo.
— and Midwest. College towns are touring
favorites, and as has been noted, the band has
played everywhere from the National Guard
Armory here in Music City to Carnegie
Hall. But they are stalwart Nashvillians, and
the national exposure from the Opry brings
the Riders into homes around the world.
“A lot of people will bring their parents
because their parents grew up listening to
this music,” Joey said. “And they’ll bring
their children as well — so you’ve got three
generations. The kids love us because of
“Woody’s Roundup” [from Toy Story 2] and
the whole cowboy thing because they grew
up with this music, too. The mom or dad
has no idea what this is, but they’re the ones
that come up at the end of the show for the
autographs — ‘I didn’t know what I was
getting into but I love it so much!’”
The preservation of the classic Western
music style is a touchstone for the Riders, but
not for the sake of preservation alone. The
caretaking of all musical styles is paramount
to performers from all walks of life, and a byproduct of what they do. Western music is
not an entirely clean and definable style, and
January - March 2012
like other American art forms, it incorporates
many elements — such as jazz and Western
swing, folk, country, and even bluegrass.
“It’s nostalgic, sure,” Too Slim said. “And a
common thing we hear every night is, ‘Please
keep doing this — don’t stop — keep this
music alive.’ That’s inspiring, you know —
even from the very beginning there was more
to this than just making a living, or having a
band — there was more of an overall mission.
We were part of a greater tradition, and we’re
trying to advance that tradition as well. That
richness continues to inform what we do
right up to tonight’s Opry performance.”
The others nodded in agreement, but the
Cowpolka King added an important caveat,
that it needs to be current and living. The
band accomplishes this in the diversity of its
projects, through comedy, and through new
“Ranger Doug has always said this [the
band] should never be a museum piece,” he
said. “It’s not just doing songs that people
have heard for 50 or 60 years — we love
those songs — but to keep it relevant.”
“The new things that we write are certainly
in the tradition, and important for us to do,”
Ranger Doug said.
The challenges in keeping Western music
relevant and alive are much the same as those
that face the blues. Both are incredibly rich
American forms, but authentic younger
players are scarce.
“What I find is we do have a small cadre
every show of high school-age kids who
come and see us,” Ranger Doug said. “It’s
not a big part of our audience. What we see
are young parents bringing their kids, saying,
‘Well, I saw you when I was eight and I want
my kids to experience this too.’ We lose them
for a few years — except for the ultra-hip
ones of course [laughter] — and then they
come back and they bring their kids because
they know it’s a great show.
“There are a lot of great young players in
bluegrass, and I know that eventually we’re
going get some great young players and
singers in Western music.”
It’s important to note that the Riders are
no easy act to follow. The musicianship and
harmonies are flawless, a natural blend that
comes with incredible familiarity.
“There are a lot of cowboy acts out there,
but what they’re playing is country with
cowboy lyrics, rather than the music that we
play, which is an amalgamation of jazz and
polka and — you name it — all rolled into
one,” Joey said.
“I keep waiting for the younger generation
to find us [more laughter],” Too Slim said,
confirming the ultimate dilemma. “Kind
of like the way the folk boom discovered
Mississippi John Hurt. One day somebody’s
gonna say ‘These guys really know how to
play, and they stand up there and sing really
The Nashville Musician
beautifully and you should catch them before
they’re dead!’”
The Riders autumn 2011 release, Land
Beyond The Sun is an instant classic, and
highlights the heart of the Cowboy Way —
the inspirational, spiritual side of the cowboy
and his relationship with nature. The record
fulfills the wishes of fans that have requested
such a collection for years, and features several
Bob Nolan (Sons of the Pioneers) standards,
including the lilting, gospel-tinged “The
King’s Highway,” and the harmonious “The
Mystery of His Way.”
The disc also features soaring versions
of two classics by Stan Jones (of “(Ghost)
Riders in the Sky” fame) — “Song of the
Trail” and “Saddle Up.” But one of the
strongest tracks is the introspective Ranger
Doug original “River of Mystery.”
The record is a laid-back, reassuring
journey to be taken within.
“It’s the most requested collection at the
mercantile table after the show,” Too Slim
said. “People have been asking us to do it
for years and so we finally did it. They’re not
straight-ahead gospel songs — they’re really
more inspirational songs about the Cowboy
Way of looking at nature and looking at the
spiritual side of things — of existence.
“Some of those songs we’ve been doing
live for years. They’re a part of the show. It’s a
real natural thing for us.”
Ranger Doug sees the record as an
explanation, and extension, of the Riders’
appeal. “It’s nice to be out on the road and
singing about things other than getting
drunk and cheating on your wife
and such,” he said. “And our
songs and the material
can be very poetic,
and we sing about
the outdoors and
it’s a very different
experience. You might
not want to hear it every
day, but it refreshes.”
The Riders’ original
formation was the
result of random
circumstance and a
baseball cap.
“I came to town
in 1967, and played
a very short tour
with Bill Monroe
and it made me want to
be in the business,” Ranger
Doug said. “So I went back
and I finished college at
the University of Michigan
and came back here the day
I graduated. I played another
tour with the King of Bluegrass,
and I went from him to Jimmy
Martin, and I couldn’t stand
The Nashville Musician
that anymore. I had a little girl and another
one on the way — so I took a job at The
Hermitage, and at Gruhn Guitars, and then
at the Country Music Hall of Fame. But, I
was still playing all the time.”
Too Slim, also a University of Michigan
graduate, recalled the chance meeting
between Ranger Doug and him in Nashville.
“I moved to Nashville and moved in next
door to Ranger Doug over on Wildwood
Avenue, and I saw him out in his yard playing
with his two little girls,” he said. “And he was
playing catch with them. He had a Detroit
Tigers hat on, and I’m a lifelong Tiger fan,
so I went out and struck up a conversation
— that’s how we first met.
“I played in his bluegrass band, and he
started showing up in a cowboy hat and
singing Bob Nolan songs. I was like, ‘Where’s
that coming from?’ And he started to educate
me, and he had this notion that we should
start to get together to sing just cowboy
songs. He said ‘I’ll bring you a hat.’ That was
the beginning.”
The first official gig was Nov. 11, 1977 at
Harry’s Phranks & Steins. Soon came the
Wind & The Willows and the Old Time
Pickin’ Parlor.
“We played all those,” Too Slim said.
“Woody came along about six months in, and
was writing these great cowboy songs right
smack where we were going. And like us, he
was looking for the white-hatted heroes. The
outlaw images were big at the time. Joey was
out doing his thing
and came
along about 10
January - March 2012
The Cowboy Way was saved — and the
AFM has played its own role in defending
the faith.
“[Being a member] is certainly a mark
of professionalism and a mark of doing the
right thing the right way — the Cowboy
Way,” Ranger Doug said.
Through a touring agreement signed with
Local 257 in 2006, the Riders have been able
to make contributions to the AFM pension
fund from their road dates over the years.
“Time goes by so quickly when you’re
doing something you love, and I looked
recently at all the things [contributions] that
I’ve been putting in since 1962,” Joey said.
“I’ve really never looked at it too much or
thought twice about it, but that’s what comes
with filing all the cards and doing what you
needed — not because someone was telling
you to do it — but because it’s something
you needed to do. You’re paying yourself
every time you do that, and whoever you’re
working for is paying you, too.”
Too Slim has a long-standing appreciation
for unions. “My dad was a big union guy
and he used to tell me when I was a kid,”
he said. “The reason we have a 40-hour
week, child labor laws, and benefits is not
because companies gave that to people out
of the goodness of their hearts. It’s because
workers organized and fought for it – fought
for every single one of them, every step of
the way. You can make the argument that it’s
one of the critical components of the middle
class — the rise of the middle class – this
huge economic engine that happened in the
postwar era. I think it’s applicable
today. I think in American life, a
strong union is a good thing.”
There was brief quiet
in the dressing room.
Then, an audible moan
went up from Woody
returned a controversial
interception in overtime
to beat Vanderbilt. Bill
Anderson could be
the Opry faithful
outside the door.
The four cowboys
were once again
at the nexus
“That’s why Woody
Paul — from the first day of
September through the end of
December — doesn’t go anywhere
without wearing his union suit,” the
Cowpolka King said.
Ranger Doug took note. “It’s
the Cowboy Way!” n
By Kent Burnside
onestly, is there a better team player
in Nashville than Vince Gill? The
man is a world-class instrumentalist,
an ace songwriter and a peerless vocalist, yet
on his latest album he spreads a whole lot of
love around.
Take the guitar department, for example.
Gill really needs no help here, yet the
aptly titled Guitar Slinger also features the
six-string talents of Local 257
members Richard Bennett, Tom Britt, Tom
Bukovac, and Andy Reiss. Moreover, while
the four solo writes amply demonstrate that
he could have composed the whole record
alone, the remaining eight songs are cowrites
with one, two, or even three other writers.
The spirit of two recently departed musical
compatriots, Will Owsley and John Hughey,
is present throughout this record. Owsley
cowrote and played on two songs,
“When Lonely Comes Around” and
the powerful “Threaten Me With
Heaven.” The latter looks at the
end of life from the perspective of
a dying man sharing his last few
moments with the woman he loves:
“Can they take away the love or the
years I’ve shared with you?” Even
their impending separation is
ultimately temporary: “Threaten
me with heaven, that’s all they
can do … Threaten me with
heaven, I’ll be waiting on you.”
The lead track, “Guitar
Slinger,” tosses in humorous
references to The Time
Jumpers, to Gill’s wife Amy
Grant, and even to the 2010
Nashville flood: “There’s a
few licks left in this guitar
slinger / Even though half my stuff ’s in
the Cumberland River.” Thankfully Vince’s
January - March 2012
favorite Tele, the blonde ’53 shown in the
insert photo, avoided this fate. On this one
Gill shares electric guitar duties with Tom
Bukovac, and each turns in a killer solo.
Eric Darken’s percussion perfectly
complements the soulful groove of “Tell
Me Fool,” cowritten with Pete Wasner; the
gospel-heavy backing vocals of Jenny Gill and
Bekka Bramlett, along with John Hobbs’s B3,
take even a cheating song like this to a much
higher place. On the other hand, “If I Die”
spotlights Gill’s classic country roots. His
vocal phrasing, and the melody itself, call to
mind 70s-era Merle Haggard (with a touch
of Vern Gosdin), yet remain uniquely Vince.
“True Love,” written and sung with Grant,
is an ode to the kind of love that sometimes
takes a while to arrive: “All the years wanting,
the desperate longing / Are maybe what
makes this so good.”
“The Old Lucky Diamond Motel”
immortalizes a kind of establishment that’s
tough to find these days, the mom-and-pop
lodge where many and varied rites of passage
occur: “Room 23 was the first time for me
/ A stripper named Rita Cantrell / I spent
all my money on that sweet Spanish honey /
At the old Lucky Diamond motel.” In lesser
hands this could become simply tawdry,
but the vivid imagery reveals a strong Guy
Clark influence, transforming the song into
an almost uplifting slice of rapidly vanishing
Americana: “There’s cowboys and Shriners
and old five-and-dimers,” but also “color TV,
and the kids eat for free.”
Of special note is “Bread And Water,”
cowritten with Leslie Satcher. It’s the moving
tale of an emotionally broken man who finds
himself at a homeless shelter, believing that
“bread and water, Ma’am, that’s all I need.”
The mission worker recognizes that his true
plight is spiritual rather than material, and
she begins to read him the Gospel; she points
out that “there’s only two things can save
your soul from hell,” the “bread and water”
which come from above. After accepting her
proposition and praying for forgiveness, “He
closed his eyes and never woke up / He’ll
find bread and water waiting there.” This
one’s a potential classic on the order of “Go
Rest High On That Mountain.”
Gill’s longtime steel guitarist John
Hughey receives both the album’s dedication
and its closing musical tribute, “Buttermilk
John.” In slow waltz time Gill immortalizes
a beloved Nashville Cat: “Oh John, oh John,
play one last song / Before you take that
final ride.” The track features Western swing
powerhouse The Time Jumpers, and includes
two perfect old-school pedal steel solos by
Paul Franklin; the second lasts for almost
1:30 before the final fade, and still it ends
far too soon. Folks, this is what real country
music sounds like. n
The Nashville Musician
resourceful songwriter. The record is full of
Vaughan’s compositions, such as “The Things
I Do,” that resonate with classic country, rock
& roll and roots music influences, yet sound
totally contemporary. Kenny Vaughan is a
Nashville treasure, and this album cements
his reputation as a versatile player, writer and
singer who is equally comfortable in the role
of stellar sideman or confident front man.
— Roy Montana
Kenny Vaughan
Kenny Vaughan
Sugar Hill
Since his move to Nashville from Colorado
in 1987, Kenny Vaughan has become one of
Music City’s busiest guitarists. He’s toured
with Rodney Crowell and Patty Loveless,
and is a member of Marty Stuart’s Fabulous
Superlatives. He also records with a wide
variety of artists and fronts his own trio. The
past few years have seen his visibility as an
artist rise as well, and the release of his selftitled debut album on Sugar Hill Records
raises his profile another notch.
“Country Music Got A Hold On Me”
opens the record with a bang as Vaughan
spins an autobiographical yarn that verifies
his identity as a “chicken-pickin’” guitar
man.” He then spends the rest of the album
demonstrating his versatility and prowess in
all the variations of 21st century “country”
guitar. And throughout the album, Vaughan’s
unpretentious and tuneful vocals carry the
songs in believable fashion.
The vast majority of the record was
recorded with the Fabulous Superlatives —
Stuart on guitar, Paul Martin on bass and
Harry Stinson on drums — as Vaughan’s
backing band and the results really are
fabulous. The occasional guests only add to
the depth and scope of the proceedings. Chris
Scruggs plays lap steel like a man possessed
on “Hot Like That,” and the Oak Ridge Boys
make a stirring appearance on the humorous
“Okolona, Tenn.”
A slight departure from the overall feel of
the album is the instrumental “Mysterium.”
Its spooky melodicism lends itself perfectly
to the classic jazz organ trio format featuring
Charles Treadway on B3 and Jeffrey Clemens
on drums. “Don’t Leave Home Without
Jesus” closes the album — a perfect marriage
of traditional country, rock, blues, and gospel
sounds with lyrics that urge the modern man
to keep everything in perspective despite
modern life’s many distractions.
Perhaps the biggest surprise on the album is
the emergence of Vaughan as an original and
The Nashville Musician
Darrell Scott
Long Ride Home
Full Light Records
Darrell Scott’s new album is a self-described
“homemade” record that is a beautiful and
soulful homage to his musical roots growing
up in Kentucky. The album, released by Scott’s
own Full Light Records, takes the listener on
an emotional journey through a collection of
finely crafted songs, all impeccably played
and produced.
Scott reveals in the liner notes that he
centered the sound of the record around
the piano playing of the legendary Hargus
“Pig” Robbins, and the results of this
decision are stunning. The outstanding band
on the project are all Local 257 members,
and include his longtime musical cohorts
drummer Kenny Malone, Dennis Crouch on
string bass, and Tim O’Brien on mandolin,
along with the always tasteful Lloyd Green
on steel guitar, Charlie McCoy and Mickey
Raphael on harmonica.
Also appearing on the record are a variety
of Nashville’s finest singers, including Patty
Griffin and Local 257 members Rodney
Crowell, Kathy Chiavola and John Cowan.
Everyone on the record performs with an
emotional depth and sincerity rarely heard in
this day and age.
Scott’s liner notes paint a vivid picture of
growing up in a musical family. The songs are
mostly written by Scott himself. His cowriters
include Marcus Hummon, Tia Sillers, and
Guy Clark, whose duet vocal on “Out In The
Parking Lot” resonates with a world-weariness
that perfectly fits the subject matter.
January - March 2012
Two songs cowritten with his father,
Wayne Scott, date back to Darrell’s teenage
years, and Wayne’s soulful duet vocal on “The
Country Boy” gives an insightful glimpse
into Darrell’s influences. This sincere, soulful
performance is made all the more bittersweet
by the fact that the elder Scott passed away
unexpectedly in late 2011, just as the album,
dedicated to Scott’s mother Evelyn, who
died earlier in 2011, was due for release.
Scott, who most recently recorded and
toured with Robert Plant’s Band Of Joy,
is a rare artist who has mastered many
instruments and musical styles while
retaining the essence of his Kentucky
musical roots. His success as a songwriter
and a musician for other artists has not kept
him from putting a distinctive stamp on his
own music, and Long Ride Home is the latest
chapter in a prolific career that no doubt
will continue to evolve. This latest stage of
his journey is rewarding on many levels and
is yet another great example of how oldschool, song-driven Nashville recording is
alive and well, and moving Music City into
the future.
— Roy Montana
Various Artists
Mosrite Records
Rebirth is an instrumental guitar album that
honors the legacy of Mosrite Guitars with
a bevy of top guitarists, including many of
Nashville’s top axe slingers.
Produced by Local 257 member Mark
Moseley, son of legendary guitar maker, the
late Semie Moseley, Rebirth marks the revival
of the most celebrated models of the Mosrite
guitar line, which is the occasion for this 17track guitar fest. All the featured players use
various Mosrite reissue guitars and basses on
the project.
The album opens with a rousing version
of “Hawaii Five-O” by the great Nokie
Edwards, lead guitarist for the legendary
Ventures, who perhaps did more than other
band of the early ’60s to make guitar music a
viable genre. Local 257 member Kerry Marx
totally nails an unexpected selection — Iron
Reviews cont.
Butterfly’s psychedelic classic “In-A GaddaDa-Vida.”
Jody Maphis’ rendition of “Ghost Riders
In The Sky” is appropriately mysterious, and
his medley of “Thunder Road/Bonanza”
has a great arrangement and performance.
Local 257 members Brent Mason and
pianist Gordon Mote stretch out on Duke
Ellington’s “Caravan,” demonstrating once
again that “country” players should never be
typecast. Mason also shines on “Walk Don’t
Run,” one of the all-time quintessential
guitar instrumentals.
Producer Moseley takes a turn on guitar
with a contemporary rendering of “House
Of The Rising Sun,” featuring great sax
work by Local 257 member Denis Solee.
C.J. Ramone performs two Ramones hits,
“Blitzkrieg Bop” and “I Wanna Be Sedated,”
and his aggressive, distorted bass work is
full of fire. The Cars’ Elliot Easton plays
all the instruments on a dramatic reading
of “Goldfinger,” and pickup guru Seymour
Duncan goes surfin’ on “Penetration” with
great tone, spooky strings and cascading
muted guitar runs.
Elaine Frizzell sails through a smokin’
version of “Black Mountain Rag” along with
fellow 257 members Kelly Back on second
guitar, and the tight rhythm section of Duncan
Mullins on bass and Tommy Wells on drums,
who play on the majority of the tracks, all
with great feel and supportive grooves.
Rebirth is a wonderful testament to Semie
Moseley and the Mosrite guitar line. Great
guitars never die, they just keep coming back
for more, and in the hands of these master
players, the Mosrite magic is alive and well.
— Roy Montana
Charlie McCoy
Lonesome Whistle: A Tribute To
Hank Williams
DiamonDisc Records
Harmonica virtuoso Charlie McCoy opens
his new Hank Williams tribute album with
a short spoken-word track with musical
backing in which he relates “a little-known
coincidence” between Williams and him —
January - March 2012
the iconic country singer-songwriter died in
McCoy’s hometown of Oak Hill, W.Va.
This isn’t the first time McCoy has begun
an album in such fashion — he opened his
acclaimed 1975 record Harpin’ the Blues with
a similar spoken word intro. But on Lonesome
Whistle: A Tribute To Hank Williams, he
throughout the record with great effect. He
even ends the record with spoken closing
remarks and credits, which give the record
the feel of a radio show.
The harp master covers many of Williams’
most famous compositions on the record,
including “I Heard That Lonesome Whistle
Blow,” “I’m So Lonesome I Could Cry,”
“Cold, Cold Heart” and “I Can’t Help It If
I’m Still In Love With You.”
As one would expect from anything
involving McCoy, the performances on
Lonesome Whistle: A Tribute To Hank
Williams are superb. He is accompanied by
some of Nashville’s finest, such as pianist
Pig Robbins, pedal steel legends Russ Hicks
and Weldon Myrick, bassist Dennis Crouch,
drummer Bob Mater, dobro ace Rob Ickes
and the legendary Harold Bradley on tic tac
bass and electric sitar.
The bulk of the recording was done over
two days at Skaggs’ Place Studio. Ricky
Skaggs makes a guest appearance on the
delightful “Mind Your Own Business,” along
with Roy Clark, whose parts were recorded
at Tulsa’s Church Studio. Skaggs and Clark
share the lead vocals, as well as contribute
mandolin and electric guitar respectively.
Williams’ daughter Jett Williams is also
a guest on the album, appearing on three
tracks. She sings lead on “Your Cheatin’
Heart” and shares the lead with McCoy on
“Jambalaya (On the Bayou).” On what is
arguably the record’s most interesting track,
she and McCoy join her father and his band
The Drifting Cowboys on a performance of
“I Saw the Light.” The original performance
came from a recording of a 1952 radio show
on WSM. The song was lengthened through
the magic of digital editing, with the studio
band playing behind Jett and McCoy.
The final song on the album is a McCoy
original, “The Hank Williams Song,” on
which he relates Hank’s life story in song.
He also uses the backing music from this
number behind the opening introduction
and the closing remarks and credits.
Throughout Lonesome Whistle: A Tribute
To Hank Williams, McCoy reminds us
why his plaque hangs right next to Hank’s
at the Country Music Hall of Fame. Even
with guest stars and all-world backing,
his harmonica work shines brightest and
provides further proof that he is one of the
world’s great soloists.
— Daryl Sanders
The Nashville Musician
Ringo Starr and producer Pete Drake
during a photo shoot for the Beaucoups of
Blues album at singer Tracy Nelson’s farm
outside Nashville. (Photo courtesy of Rose
Ringo Starr pursued his love for country
music on 1970 Nashville album
By Daryl Sanders
t was wall-to-wall people in the tiny
control room at Scotty Moore’s Music
City Recorders on the evening of June
30, 1970. “You couldn’t move, you couldn’t
even breathe,” the Rock and Roll Hall of
Famer recalled recently.
Moore was at the console, engineering the
session that had attracted not only the dozen
or so people in the control room, but also a
crowd of people on the sidewalk outside the
studio. The tracking room was packed as well
due to the large number of top Nashville
session cats assembled to accompany the
man standing in front of the vocal mic, the
first Beatle to record in the city, Ringo Starr.
Ringo was in town to record his second
solo album, Beaucoups of Blues. Southern rock
legend and AFM 257 Life member Charlie
Daniels was one of the musicians gathered
in the tracking room, contributing acoustic
The Nashville Musician
guitar to the two full days of sessions. By
chance, Daniels played an important role
in the sequence of events that led Ringo to
come to Nashville to record.
Several months earlier on May 1, Daniels
was in New York City prior to flying to
Europe for a tour with Leonard Cohen when
he got a call from Columbia producer Bob
Johnston. “He called me and said, ‘Would
you like to come down and play bass with
Bob Dylan and George Harrison and Russ
Kunkel, a drummer from the West Coast?’
And I said, ‘Sure, I’d love to,’” Daniels told
The Nashville Musician in January.
“We had a great fun day jamming in the
studio, and George asked me, ‘Who plays
that steel guitar on Bob’s albums?’ I said,
‘Well, that’s Pete Drake.’ And he said, ‘I sure
would like to get him over to play. I’m about
to do an album.’ I said, “I’ll put you in touch
January - March 2012
with him.’”
Daniels did just that, and a few weeks
later, Drake, another 257 legend, was in
England working on sessions for All Things
Must Pass. Ringo, who also was playing on
the sessions, told the pedal steel player and
producer he had always wanted to make a
country record.
“It all came together because I sent my car
to pick up Pete Drake at the airport when he
came in to record with George,” Ringo told
the Nashville Scene in 2008. “He noticed I had
a lot of country music in my car. Everyone
always knew I liked country music.”
Drake encouraged the Beatle to come
to Nashville to make a country record with
some of the top session musicians and offered
to produce. It wasn’t long before Ringo was
on his way to Music City.
Ringo arrived in Nashville a week before
the sessions for preproduction. He stayed at
a Ramada Inn on James Robertson Parkway,
but was also booked at another downtown
hotel as a decoy for the media. “We kept
the press away as much as we could,” Rose
Drake, Pete’s wife and longtime business
partner, recalled.
According to Rose, one of the first things
Ringo wanted to do was go to Sears and buy
a big trunk, which he intended to ship back
to England filled with toys for his children
and records from Ernest Tubb Record Shop
for himself.
He spent most of the time leading up to
the two days in the studio listening to songs
with the producer and then learning the 12
songs he selected to record. Four of the songs
were penned by 257 member Chuck Howard,
who was a writer for Drake’s Window Music
Publishing company.
Decades before Ringo put together his AllStarr Band, Drake assembled a collection of
all-stars for his Nashville sessions, including
Local 257 luminaries Charlie McCoy, D.J.
Fontana, Buddy Harman, Junior Huskey,
Ben Keith, Jerry Kennedy, Dave Kirby, Jerry
Reed, George Richey and Howard; plus
he brought in The Jordanaires on backing
Despite what you might expect, Daniels
said, “This was not a Beatles session by any
stretch of the imagination.
“It was very business-like stuff,” he
continued. “It was not like as if you’re going
into a Beatles’ [session] that you took two
weeks a track. Pete ran it just like he would
the nicest guys I’ve ever
run a session for any
met,” Rose said. “He was
other Nashville artist.
just down-to-earth, lots
You go in and you do
of fun.
three or four tracks
“He was a nice man
every three hours. It was
all around,” Fontana
pretty straight ahead.”
remembered. “Anything
“It was pretty much
we wanted to play, that
done live,” McCoy
was okay with him, you
recalled of the fastknow.”
moving sessions.
Ironically, even though
he was one of the most
really loose, really
famous drummers in
the world, Ringo didn’t
enjoyed the sessions,”
play drums on any of the
Rose said.
tracks — either Fontana
After a particularly
or Harman were on
impressive barrage of
the kit. But at the end
guitar licks by Reed
of each day’s work,
near the end of “$15
Ringo showed he could
Draw,” Ringo can be
At one point during the sessions, the musicians stepped across the street from
hang with the famous
heard joking, “When
the studio for a group photo. Back row (L-R): Charlie Daniels, Dave Kirby, Chuck
Nashville cats.
you’re hot, you’re hot,”
Howard, The Jordanaires (Gordon Stoker, Hoyt Hawkins, Neal Matthews Jr. and
in a nod to Reed’s Top
Ray Walker) and Sorrels Pickard. Middle row (L-R): Buddy Harman, Jerry Kennedy,
Jerry Shook, George Richey, Grover Lavender and Charlie McCoy. Front row (L-R):
recording was done,
10 pop hit of the same
Jim Buchanan, Junior Husky. Pete Drake, Ringo Starr, D.J. Fontana, Ben Keith.
he walked over and sat
Not pictured: Jerry Reed and Jeannie Kendal. (Photo courtesy of Rose Drake)
down at the drums and
Without exception,
started playing a groove,
all the people who spoke
to The Nashville Musician about the making here, to work with Nashville musicians. He and we had a long jam session; and I must
of Beaucoups of Blues had fond memories of was very friendly, very nice, and we had a say he played pretty doggone good,” McCoy
great time.”
“He was very low-key,” Daniels said.
“He went back and sat down behind D.J.’s
“He was great,” McCoy said. “He’s a fan
“He was happy to be here, he was one of drum set,” Daniels recalled. “I remember
of country music, and he was thrilled to be
somebody saying you could set your watch to
his drum playing — that was a studio saying
in Nashville for somebody had good time.”
“Well, we started one and it lasted I guess
20 minutes, then he stopped and started
again and that was about 10 or 15 minutes,”
Fontana recalled of the jamming. “I did
notice that he never varied tempo-wise, he
was always right there, where he started —
and that’s hard to do for 20 minutes.”
When the album was reissued on CD in
1995, it included two bonus cuts: “Coochy
Coochy,” a Ringo original that was released
as the B-side of the single, “Beaucoups of
Blues,” and “Nashville Jam,” a 6:41 excerpt
from the after-hours jamming featuring
Ringo on drums.
A few members of the press were allowed
to visit the sessions. McCoy overheard a
reporter from the Nashville Banner ask
Ringo who his favorite country singer was.
He replied in his thick Liverpudlian accent,
“Kit-ty Wells.”
Ringo turned out to be a pretty fair
country singer in his own right — Beaucoups
of Blues made it into the Top 40 of Billboard’s
country album chart, peaking at No. 35. As
far as any lasting impact, Daniels thinks the
record legitimized country music for rock
fans. It has certainly stood the test of time
and is now considered by critics to be one of
his best. n
January - March 2012
The Nashville Musician
Symphony Notes
met the challenge every time. A search committee will be appointed; and as an Artistic
Planning Committee member, Liz Stewart
will represent the orchestra musicians.
Carnegie Hall preparations begin
By Laura Ross
he season has gotten off to a fine start,
and now we’re halfway through. We’ve
had some great concerts since September, which included recording the world
premieres of Richard Danielpour’s Darkness
in the Ancient Valley, and Bela Fleck’s Concerto
for Banjo and Orchestra, the second of which
was streamed live during the first performance.
However, the standout week for many occurred in early December when Peter Oundjian, music director of the Toronto Symphony, was the guest conductor. Oundjian is
the former first violinist of the Tokyo String
Quartet, so as a musician and conductor he
brings a great deal to the podium. That concert made me realize we haven’t performed a
lot of Brahms recently and I missed it. Many
of us walked off stage that weekend tired but
very satisfied with our accomplishments.
Each year the orchestra splits for two
weeks in December to allow half to perform
The Nutcracker, and the other half to perform
a variety of concerts including The Messiah.
This year The Messiah performances marked
the final concerts by Nashville Symphony
Chorus Director George Mabry, whose retirement was acknowledged at the Saturday
evening concert.
George served as director for 16 years, the
longest tenure since I’ve been in the orchestra. In that time the quality of the chorus
has improved greatly as we continually challenged them with difficult works – and they
There is great anticipation for our trip to
Carnegie Hall in May. The first rehearsal – or
better yet, the sectional for one orchestra – of
the realized version of Charles Ives’ Universe
Symphony was in December. I call it a sectional because the work involves seven orchestras
made up of various instrument groupings.
Violins, violas and keyboard instruments are
in one; cellos and basses in another; one is
composed of various wind and brass players,
and “Orchestra E” includes 18 percussionists,
piano and harp.
There are also five conductors. We received
our orchestra assignments and the first readthrough was in mid-February. Because George
Mabry has retired, Chris Norton will join
NSO’s three conductors and Larry Austin,
who arranged the realized version of the Ives.
During our first January classical series the
Nashville Symphony tried something new
using social media. The orchestra performed
Mozart’s “Paris” Symphony No. 31, which has
two second movements. This was evidently
due to the less than stellar reception Mozart received for the first version that is usually performed, which he wrote when it was
premiered. Supposedly, Paris audiences were
notoriously picky, which might explain their
reaction to Stravinsky’s Rite of Spring many
years later. Anyway, when it was performed
again less than one month later, Mozart had
written a shorter second version.
At our concert, the NSO performed both
movements and asked audience members to
go to our Facebook page to vote. To refresh
audience memories, one-and-one-half minute
video clips from our performance Thursday
evening were posted. To see the results, check
out the Nashville Symphony Facebook page
and “Like” us if you haven’t already done so!
It’s hard to believe new violist Hari Bernstein, percussionist Trent Leasure, principal
oboist James Button and concertmaster Jun
Iwasaki haven’t already been in the orchestra
for years; they fit in right away. I’m happy to
report that principal keyboard Robert Marler,
third horn Kelly Cornell, and bassists Kevin
Jablonski and Joe Ferris received notice in
mid-December they will be granted tenure at
the end of this season – congratulations!
From February to May
There is much ahead in the season, which
brings Kenny Rogers, Doc Severinsen (who
replaced Marvin Hamlisch), Johnny Mathis,
Cassandra Wilson, Kathy Mattea, Matt Catingub, and Steve Wariner as featured pop,
jazz or special event guest artists. Classical
artists include violinists Cho-Liang Lin and
Augustin Hadelich; pianists Jonathan Biss,
Angela Hewitt and Jon Kimura Parker; and
guest conductor Gilbert Varga.
The Cleveland Orchestra returns March
19 for their second performance, this time
with conductor Giancarlo Guerrero on the
podium. Guerrero has been appointed to
serve as conductor of the Cleveland Orchestra during their Miami Residency. At the end
of April the acclaimed Orpheus Chamber
Orchestra performs for the first time in the
Upcoming repertoire includes: John Adams Doctor Atomic Symphony, Copland Symphony No. 3 (led by associate conductor Kelly
Corcoran), Shostakovich Symphony No. 7
“Leningrad,” the ever-popular Rachmaninoff
Rhapsody on a Theme of Paganini, and Roberto
Sierra’s Fandangos and Sinfonia No. 4, which
will both be recorded. We will also serve as
the pit orchestra for Nashville Opera with
Puccini’s Girl of the Golden West and Nashville Ballet with Stravinsky’s Rite of Spring
and Firebird Suite.
The week before heading to Carnegie Hall
we perform two of the three works featured
in New York – Percy Grainger’s The Warriors
Newly tenured NSO members (L-R): Robert Marler (keyboard), Joe Ferris (bass), Kevin Jablonski (bass) and Kelly Cornell (horn).
The Nashville Musician
January - March 2012
Symphony Notes cont.
Jazz & Blues Beat
New NSO members (L-R): Jun Iwasaki (concertmaster/violin), Hari Bernstein (viola), Trent Leasure (percussion) and James Button (oboe).
and Terry Riley’s The Palmian Chord Ryddle
— Concerto for Electric Violin, commissioned
and written for Tracy Silverman. The third
work in the Classical Series, Rachmaninoff
Symphonic Dances, will also be performed in
Carmel, Ind., but will be replaced by Charles
Ives’ Universe Symphony in New York.
The combined programming of Ives along
with the Grainger and Riley will pose some
challenging stage changes in New York. Only
one Nashville performance of the Universe
Symphony has been scheduled the night before we depart by bus to Indiana; two days
later we fly to New York City and return the
day after our Saturday, May 12 performance.
Upon our return Chris Botti joins us for
our final Pops Series, and Orff ’s Carmina
Burana and Lowell Liebermann’s Symphony
No. 3 will round out our final Classical Series
before summer concerts begin in earnest.
2012-13 season line up
Next season we welcome the return of
violinist Stephan Jackiw performing the
Korngold Violin Concerto in D major, pianist
Terrence Wilson (soloist on the Grammy-
SunTrust Classical Series
promo code
AFM for 10%
off tickets!
*some exclusions apply
February 23–25
March 8–10
March 29–31
April 19–21
Bank of America Pops Series
March 22–24
April 5–7
Featuring a Tribute to Chet Atkins
The Ann & Monroe Carell Family Trust Pied Piper Series
February 18
Jazz Series
March 2
Special Events
February 15
February 18
February 21
March 4
March 12
March 13
March 16
March 18
March 19
March 20
March 25
Nashville Symphony Chorus
TAO: The Art of the Drum
featuring: Randy Travis, Michael W. Smith,
Marcia Ware & Committed
January - March 2012
winning Daugherty CD) with Gershwin
Piano Concerto in F, and two of the most
fashionable, trendsetting and fabulous pianists — Olga Kern and Jean-Yves Thibaudet.
Plus, NSO principal harpist Licia Jaskunas
will perform the Ginastera Harp Concerto.
Guest conductors include Jun Markl and
Bramwell Tovey; also Leonard Slatkin and
Nicholas McGegan return. Additional soloists include pianists Ingrid Fliter, Louis
Lortie and Daniil Trifonov; violinists Jennifer Koh, Anne Akiko Meyers and Elina
Wähälä; and cellist Johannes Moser. Edgar
Meyer and Joshua Bell will join us to perform Meyer’s new Double Concerto for Violin
and Double Bass.
We will complete a CD of Richard Danielpour’s work when we record A Woman’s
Life; and begin another with Stephen Paulus’
Three Places of Enlightenment — String Quartet Concerto and Veil of Tears, from To Be Certain of the Dawn. The January series concert
is a double dose of Richard Strauss — Don
Juan and Til Eulenspeigel Lustige Streiche, followed a few weeks later with Ives’ The Unanswered Question, Schoenberg A Survivor from
Warsaw and Adams’ Harmonielehre. There’s
Mahler — Symphony No.1 along with Blumine that was written for, but not included,
in his Symphony No. 1, and Mahler Symphony
No. 8 “Symphony of A Thousand,” rescheduled
because of the flood, to open the 2012-13
season in September. Also, there is the concert I anticipate most, Wagner’s Ring Without
Not to be outdone, pops series artists include Boys II Men, The Chieftains, Pink
Martini, Cirque Musica — the circus comes
to town — and a special concert in April
2013 features the Wayne Shorter Quartet
and bassist Esperanza Spalding with the orchestra.
Laura Ross is the Nashville Symphony Union
Steward. You can reach her at [email protected]
The Nashville Musician
By Austin Bealmear
new book, The Hammond Organ – An
Introduction to the Instrument and the
Players Who Made It Famous, tells
the story of a modern instrument with the
appearance of a piece of fine furniture.
It was intended to be an affordable
substitute for large mechanical pipe organs,
a replacement for the piano in middle-class
homes, and something that could make a
wide range of music and sounds for radio
broadcasting. The “portable” electric organ
was introduced in 1935 by its inventor,
Laurens Hammond. Get this: Hammond did
not set out to design a musical instrument.
He invented a small synchronous motor in
1921, which he used a year later to create the
first 3-D film.
Shot with two cameras, two pieces of
film were projected simultaneously using his
motor to alternate between them for each
eye. He soon invented the classic 3-D glasses
with one red lens and one green lens, the
same kind of glasses used for those campy
horror flicks in the 1950s. In the early ‘30s
he used his motor to successfully do what
had only been experimental; generate sounds
Hammond’s device was practical and
musical. Officially introduced in 1935, the
original Hammond A found a market fairly
quickly, even though it cost more than a car
in the Depression era. It was as perfect for
playing somber tones in small funeral parlors
as for playing hymns in churches that could
not afford pipe organs.
The book’s author, Scott Faragher, was for
many years an agent for Waylon Jennings,
Jerry Lee Lewis, Lou Rawls, Brenda Lee,
Fats Domino, and Ricky Skaggs. He also
managed country legend Ray Price. But
the Hammond is clearly one of his lifelong
interests. The prolific author’s fifteenth book
reads like a labor of love. As he says in the
intro, “I admit it. I am a Hammond fanatic.”
The book begins with a forward written
The Nashville Musician
by another fanatic, session legend and
former Nashville resident Al Kooper, and
goes on to give the history of the Hammond
development, including the marketing
programs that made it successful in so many
different environments. There are details on
the inner workings of the various original
models, including jazz and blues favorite
the B3, and the tone cabinets that held
the speakers. The book also delves into
the legendary Leslie speaker cabinets not
originally made by Hammond, but necessary
to produce the classic B3 sound.
Also included are the later solid-state
organs, and the rebirth of the company
after its demise in the 1980s. There is a nice
section of information to help people find
and maintain vintage Hammond organs. The
389-page book concludes with a large section
profiling dozens of well-known Hammond
artists and their records, including Nashville’s
own Kossie Gardner and Moe Denham.
You don’t have to be a Hammond fanatic
to enjoy this book. Large type and a good
selection of vintage advertising, photos, and
diagrams keep this a lively and entertaining
read for anyone even remotely interested in
music history. Each section is fairly compact
so you get just enough information to
understand the significance of each model,
feature, or change, but don’t get fatigued with
endless tiny details.
I do have a minor quibble with the
author’s tendency to skip around a little. I
think he made a wise choice in dividing the
book into small sections mostly based on the
models and features, because there are so
many facets to this story. This would be
a much more difficult read if he had
just told the whole story in one linear
But the trade-off is the very minor
inconvenience of having some stories
interrupted by another subject. For
example, we have to wait to find
out why the company went out of
business in the 1980s until after
we read who bought the company
and made it successful again. He
explains that the people who
really brought the company
back were former employees,
and that we should hear their
stories first. I’ll buy that.
The section on the artists
is great, because you see their
place in the history — from
jazz icons like Jimmy Smith
to obscure lounge players
like Korla Pandit. He gives
you some interesting stories like
January - March 2012
Denham’s legendary bullet hole tale, tips on
their best records, and even includes groups
where the Hammond was a big part of the
sound, but the player wasn’t well-known.
Some omissions are surprising, like jazz
man Freddie Roach and St. Louis’s Don
James, and sometimes the opinions can get a
little in the way of history. For example, Scott
says he thinks Jimmy Smith’s first records
with the obscure Don Gardner Trio were his
best; he only mentions a couple of the classic
Blue Notes, and talks more about the later
over-produced and repetitious Verves.
While he acknowledges Smith’s place in
history, I would argue that it was exactly
those Blue Note records from 1956 to 1963
that created the demand for the B3 in jazz
and blues and sent hundreds of keyboardists
into the woodshed trying to get the Jimmy
Smith sound. On those records, Smith proved
you could play lightning fast bebop on an
instrument still considered cumbersome at
the time. And, his mastery of the bass pedals
showed you could also swing, be soulful, and
play creative bass lines at the same time.
But history is always an interesting debate,
and Scott’s passion and personal connection
to his subject is exactly what makes this book
a fun read. The book is dedicated to another
Nashville organist, AFM 257 member
Damon Seale, whose Seale Keyworks
in Franklin is a vintage dealer. The book
is available from Hal Leonard at www.
Austin Bealmear is a member of AFM 257. He
can be reached at [email protected]
Final Notes
RMA Corner
By Bruce Bouton
ast year Rolling Stone decreed
Nashville the “best music scene” in
the country. I couldn’t agree more. In
fact, I’ve felt that way for thirty years.
I’ve been fortunate enough to be allowed
to make a living doing what I love. I moved
here in the late ‘70s and started working
my way up the touring “food chain.” I was
fortunate enough to start doing recording
sessions in the late ‘80s and throughout
the ‘90s and still continue to work in the
studio. I’m also touring again, which I enjoy
In the ’90s I added another facet to
my musical life, that of a labor activist
for musicians. I began going to phono
negotiations, and I joined the RMA
(Recording Musicians Association). I’ve
spent the past eight years as an officer in
RMA International. It has not always been
a smooth ride. In addition to working to
establish wages and employment guidelines
with employers, in the past we had to engage
— sometimes contentiously — with our
own union, in order to insure that recording
musicians had a voice in determining
our destiny. Now, I can honestly say that this: If we don’t stick together as a recording
recording musicians have a seat at the AFM community and collectively try to find
solutions, we will lose everything we have
Over the past few years I have realized fought for over the past fifty years.
We have a history of getting things done
that performance royalties will and should
be a big part of our financial future. Many in our community. We are the backbone of
of you have received checks from the AFM/ Music City and we have a legacy to uphold.
Please consider joining the RMA.
AFTRA fund. They will continue to grow
exponentially larger, with each distribution. Together we can make a difference.
Had it not been for the RMA involvement
in establishing the fund, checks would be In Solidarity
substantially lower. I’m proud to say that I am Bruce Bouton is president of the Nashville
now on the board of the AFM/AFTRA fund chapter of the RMA. You can reach him at
and I will continue to fight for performance [email protected]
rights for musicians.
Unfortunately we are facing another fight
right now right here in our own community.
Holiday Closing
For as long as I have been here Nashville
has been a union town. Work was done on
AFM Local 257 will be closed
the card, especially with the big corporations.
on Good Friday, April 6, 2012.
The “card” made sure we were paid fairly and
that our musical contribution would not
be exploited without fair compensation. In
addition we received pension and health
and welfare benefits. It kept everything on a
level playing field and it worked because the
musicians stayed together.
Unfortunately, that is not the case now.
A Union
Label Company
Musicians are hurting and they are desperate.
A UnionCompany
A Union
Label Company
It is causing division in our community as
Call us
if you
or your company needs...
A Union Label
if you or your company needs...
+Yard Signs
many players decide to throw in the towel
Call us
if you or your company
+ Envelopes
+ Letterhead
and play for whatever the employer
Call us will
if you or+Call
you orneeds...
your company
+ Letterhead
+Yard Signs
Call us
if you
or your company needs...
offer, afraid that if they turn down
work, + Business
+ the
+Yard +Signs
+ Labels
+ +Yard
Contract Signs
+ Letterhead
someone else will take it and the
or + NCR
+ leader
Screening Cards + Banners
+ Business
contractor will quit calling. These
are valid+ Cards
Cards Cards + Newsletters
+ Lapel
real-life issues and big corporations are eager+ +
Landers Avenue + Nashville,
Tennessee 37211
+ Labels + +
to exploit the resulting opportunities.
Stickers Stickers
+ And much
more! Binding
+ Bumper
+ Spiral
+ Silk
Screening + Fax
+ 615.242.2443
+ Folding+ Folding
The upside may be more work
in Screening
the+ Silk+Screening
+ And much more!
Avenue + Nashville, Tennessee 37211
+ Bumper
+ Bumper
Stickers + Spiral+Binding
+ Spiral Binding
Spiral Binding
short term, but in my opinion, this
will lead+Stickers
615.726.2820 + Fax 615.242.2443
2711-A Landers Avenue
+ Nashville,
+ Lapel
+ AndTennessee
+ And
much more!
to a race to the bottom. It will also divide
our community as leaders and contractors
2711-A Landers
+ Nashville,
Tennessee 37211
+ Fax 615.242.2443
continue to undercut each other.
Fax 615.242.2443
+ Fax 615.242.2443
I don’t know the answer, but I do know
Johnnie Wright
ohnnie Wright, guitarist, Life member of
AFM Local 257, and husband of Kitty
Wells, died Sept. 27, 2011 at his home
in Madison. Wright was 97. He was born in
Mt. Juliet on May 13, 1914 to the late John
Robert and Maggie Hughley Wright.
Wright was considered a pioneer of
country music, who came to fame as a
member of the country duo Johnnie and Jack,
with which he recorded hits like “Ashes of
Love,” “I Get So Lonely,” and “Goodnight,
Sweetheart, Goodnight,” in the 1940s and
50s. He became a member of Local 257 in
November 1947.
He changed the spelling of his name from
Johnny after it was misspelled on a record,
and then started a solo career that included a
No. 1 hit called “Hello Vietnam,” which was
featured in the 1987 film Full Metal Jacket.
Wright also managed the career of Kitty
Wells, who was the first woman to break
through as a star in country music. Her hit
“It Wasn’t God Who Made Honky Tonk
Angels,” in 1952, was the first female solo
singer country No. 1 record. The couple
married in 1937, and would have celebrated
their 74th anniversary on Oct. 30, 2011.
Joel “Taz” DiGregorio
ife member of Local 257 William
Joel “Taz” DiGregorio, died Oct. 12,
2011. The keyboardist was a founding
member of the Charlie Daniels Band, and a
January - March 2012
The Nashville Musician
The Nashville Musician
Eddie Stubbs, a close family
friend who came to town as a
fiddler for Wright and Wells,
said Wright “…guided her
career, found all her songs. All
the women of country music
owe this debt of gratitude to
Kitty Wells, and if it hadn’t
been for Johnny Wright…
there wouldn’t have been a
Kitty Wells.”
In addition to his parents,
Wright was preceded in
death by his daughter, Ruby
Wright Taylor. Survivors
include his wife, Muriel
Deason Wright, a son,
Bobby Wright, one daughter,
and numerous nieces and
He was a member of the
Madison Church of Christ,
where he served for many years as a deacon.
He was also a founding member of the
Madison’s Children Home.
Funeral services were held Friday, Sept.
30 at the Madison Church of Christ, with
cowriter of the band’s signature tune, “The
Devil Went Down To Georgia.”
Born Jan. 8, 1944 to Louise LaRochelle
and Anthony DiGregorio, he was self-taught
on the keyboards. His attendance at a Ray
Charles concert was said to have instigated
his desire to become a professional musician,
and he honed his skills by practicing tunes
by Elvis Presley, Fats Domino, and Little
He fulfilled his goal when he initiated his
career with the group Paul Chaplain and his
Emeralds, best known for their minor hit
“Shortnin’ Bread in 1960. In 1964, he met
and joined Charlie Daniels who at that time
was in a band called the Jaguars.
A few years later, DiGregorio was drafted
and served with the U.S. Army. Upon his
return home, he resumed his career with
Daniels and the band launched what was to
become a commercially successful body of
work, beginning with their self-titled debut
album in 1970. In addition to his work with
Daniels, in 2008 he recorded the solo projects
Midnight in Savannah and Shake Rag.
Survivors include his parents, his wife,
January - March 2012
Bro. Steve North officiating. Burial followed
in Spring Hill Cemetery. Wright’s nephews
served as pallbearers, and his former band
members, The Tennessee Mountain Boys,
served as honorary pallbearers. n
Danielle Elks DiGregorio, their dog, Dakota;
two sons, Joel DiGregoio of Worcester,
Mass., Blake DiGregorio of Denver, Colo.,
and two daughters, Rachel DiGregorio
of Bloomington, Ind., and Savannah
DiGregorio. Other survivors include his two
sisters, Tina Hall of Mesa, Ariz., and Dara
Amore of Carolina, R.I.
A memorial service was held Oct. 17 at
Harpeth Hills Funeral Home with burial at
Harpeth Hills Memory Gardens. Donations
may be made to the Nashville Humane
Association or to a charity of choice. n
Next Membership Meeting
Monday, March 12, 2011
George Cooper
Rehearsal Hall
Doors open at 5:30 p.m.
Meeting starts at 6 p.m.
Final Notes cont.
Wilma Lee Cooper
Marilyn Ione Johnson
rand Ole Opry star and AFM
Local 257 Life member Wilma
Leigh O’Leary Cooper, age 90,
died Tuesday, Sept. 13, 2011 at her home in
Cooper, formerly of Nashville, was born in
Valley Head, W.Va., and started singing as a
youth with her family’s gospel group, which
included her parents and sisters. Cooper later
formed a group called the Clinch Mountain
Clan, a regular act on the WWVA Wheeling
Cooper and her husband Stoney recorded
together for more than three decades. They
had seven top ten hits for Hickory Records
between 1956 and 1961, including “Cheated
Too,” “There’s a Big Wheel” and “Come
Walk With Me.” Cooper joined the Opry as
well as the Nashville Musicians Association
in 1957, and performed regularly there with
her husband until his passing in 1977. She
continued on the Opry as a solo performer
until 2001.
Cooper and her husband were members of
the West Virginia Music Hall of Fame, and
in 1974, The Smithsonian Institute honored
her as the “First Lady of Bluegrass.” Her
recordings are also a part of the permanent
collections of the White House and the
Kennedy Center.
Survivors include her daughter, Carol Lee,
of Nashville; two granddaughters, and four
great-grandchildren. Cooper requested there
be no memorial service. A statement from
the Opry said she will be remembered for
“her music and her faith.”n
FM Local 257 member Marilyn
Ione Johnson, 79, of Evansville,
Ind., died Sept. 17, 2011. She was
born Nov. 29, 1931, to Kathryn and Carroll
Johnson, who joined Local 257 in 1992,
was an instructor and a student with the
Campbell Accordion Studio in Evansville.
She also was a professional seamstress with
her own line of products, called Marilyn
In addition to her parents, she was
preceded in death by her husband Robert Ray
Johnson, and her son, Gary Alan Johnson.
Survivors include her two daughters,
Catherine Johnson of Randolph, N.J., and
Sharilyn Minnette of Evansville, one son,
Randall Johnson of Cape Coral, Fla., and
one brother, Ronald Attinger of Evansville.
Other survivors include three grandchildren,
nieces, nephews, and many friends.
Funeral services were held Sept. 21 at
Boone Funeral Home East, with burial
following at Alexander Memorial Park in
Memorial contributions may be made
to the Public Education Foundation, or to
the Vanderburgh County Humane Society;
both located in Evansville, Ind. n
Shirley S. Clark
A Funeral is Not a Day in a Lifetime.
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ife AFM Local 257 member Shirley
S. Clark, 84, of Evansville, Ind., died
Nov. 30.
Clark was a professional cellist and
educator, and also was a member of
Salem United Methodist Church, Sigma
Alpha Iota, Kiwanis, Navy Mothers, and
Vanderburgh County Choral Club.
Clark was preceded in death by her
husband of 59 years, Harold Clark; two
brothers, Robert and Gene Ray; and one
grandson, Bruce Dayvolt. Survivors include
her daughter, Teresa Ellis, three sons, Steven,
Michael and Mark; five grandchildren; three
great-grandchildren; and one sister-in-law,
Ramona Clark Laster.
Services were held Dec. 3 at Salem United
Methodist Church, with burial following
at Alexander Memorial Park Cemetery in
Evansville. Memorial contributions may be
made to Salem United Methodist Church
or Vanderburgh County Humane Society.n
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January - March 2012
The Nashville Musician
Dr. Albert C. Stocker
Dan “Bee” Spears
an “Bee” Spears, 62, died Dec. 8,
2011 at his home in Nashville.
Spears was a bass player who
worked with Willie Nelson for 40 years. He
joined the Nashville Musicians Association
in July 1992, and also played with Waylon
Jennings and Guy Clark.
Spears was the son of Sam and Eva
Gossett Spears, and grew up in a musical
family outside San Antonio, Texas. He was
hired by Nelson in 1968 when his previous
bassist was drafted. Along with his touring
work, Spears also played on several Nelson
records, including The Troublemaker, Shotgun
Willie, The Red Headed Stranger, Stardust,
and Phases and Stages.
Spears once commented on his role in
providing a solid
Nelson’s somewhat
capricious vocal
style and guitar
playing. “My main
role in the band is
to make sure he
knows where the
‘one’ is, so he can
come back to it,”
Spears said.
Pomeroy counted
Spears as a good
beautiful soul,” Pomeroy said. “He taught
me a lot about what not to play behind a
singer-songwriter and how to treat people,
as well. His long musical relationship with
Willie Nelson is something that can never be
equaled or replaced. He was one of a kind.”
Spears was preceded in death by his
parents, and one brother, David Spears.
Survivors include his wife, Julia Jones
Spears; three sons, James Spears, Lucien
Niccore and Cyrus Niccore; two daughters,
Joanna Pangalinan and Christy Cook;
three brothers, Sam, Fred, and Boudreaux
Spears; three sisters, Carol Hildebrand,
Eva Johannsen, and Donna Hosey; and five
A Native American Celebration of Life
Service was held Dec. 13 at Williamson
Memorial Funeral Home. Memorials may
be made to NARAS MusiCares. n
Walter Abram Smith
Jack Pruett, Sr.
r. Albert C. Stocker, 88, of
Evansville, Ind., died March
11, 2011. Stocker, who played
saxophone and clarinet, was a life member
of the AFM, with membership in Local
257 since September 1992, and prior
membership in the Evansville local. He
was also an optometrist who practiced in
Evansville from 1949 to 2004.
He was born Dec. 21, 1922, to Charles and
Amealia Stocker, and had eight brothers and
sisters. His first professional gig was with the
Shrine Circus, with whom he would work
with for the next seventy years. In the service
he also played with the Air Corps Band, and
in later years formed Doc’s Dixieland Band.
During his career he played or sat in with
many musicians, including Hank Williams,
Al Hirt, and Doc Severinson.
Stocker was preceded in death by his wife
Betty Sue Brinkley Stocker, and his second
wife, Lois Goad Stocker.
Funeral services were held March 17
at St. Paul’s United Church of Christ in
Evansville. Memorial contributions may be
made to the Lions Club. n
Sherry L. Angle
herry L. Angle, member of Local 257
since June 1997, died in Columbus,
Ohio, at age 59 on Feb. 16, 2011. A
resident of Niles, Ohio, Angle was born July
5, 1951 in Nashville to Bishop Carl Angle
and Sarah “Frances” Angle.
Angle held a doctorate in theology from
Kent State University and was an ordained
minister who also played several instruments.
She was preceded in death by her father.
Survivors include her mother, and many
friends. Funeral services were held Feb.
16, 2011 at the Criss-Schoedinger Funeral
Home, with burial at Spring Hills Cemetery
in Nashville.n
Wynema Stallings Harris
ocal 257 member Wynema Stallings
Harris, age 89, died Dec. 5, 2011.
She was preceded in death by her
husband, Elijah Robert Harris. Survivors
include two sisters, Nancy Nichols and Mary
Alice Steward, and five children, as well as
grandchildren, great-grandchildren, nieces
and nephews. A memorial service will be
held on the anniversary of Harris’ birthday
in March, 2012. n
The Nashville Musician
ocal 257 Life member Walter Abram
Smith, age 82, died Oct. 3, 2011.
Smith was born in Bude, Miss.,
and moved to Nashville in 1968 to start a
publishing company with his brother. Smith
played clarinet, drums and saxophone. He
and his wife were known as avid travelers.
Smith was preceded in death by his
parents, Tom and Nellie Smith, and his
wife Glenda. Survivors include one sister,
Tommy Rhea Smith, one brother Jerry
Smith, three daughters, Mona Anderson,
Debbie Lamberth, and Sherri DeRoos; five
grandchildren, six great-grandchildren, as
well as several nieces and nephews.
Funeral services were held at Forest
Lawn Funeral Home on Oct. 7 with burial
at Middle Tennessee Veteran’s Cemetery in
Pegram, Tenn. In lieu of flowers donations
may be made to the American Cancer
Society or Alzheimer’s Association. n
January - March 2012
uitarist Jack Pruett, Sr., died Dec.
4, 2011 at age 78. Pruett joined
the AFM in November 1955 and
was a Life member of Local 257. Pruett
served in the U.S. Army as a member of the
Army Band, and was the longtime guitarist
for Marty Robbins. He moved to Nashville
in 1956 with singer Norma Jean Bowman
(later known as country music artist Jeanne
Pruett, born in Alabama in 1933, also
played for Curley Williams and Ray Price
before his 25-year tenure with Robbins. In
addition to touring work, he appeared on
numerous tracks for Williams and Price, as
well as most of Robbins’ hits, including “El
Survivors include one son Jack Pruett, Jr.
and one daughter, Jael Pruett Salter. Services
were held Dec. 9 at Middle Tennessee State
Veterans Cemetery. n
Final Notes cont.
Tom Roady
percussionist and longtime member
of AFM Local 257, died Nov. 27,
2011 at the age of 63. Roady was on the road
at the time with the Ricky Skaggs/White
Family Christmas show.
Roady, who joined the local Dec. 13,
1983, was a veteran of the road as well as the
studio, and worked with hundreds of artists
over the course of his career.
“I will remember the smile that was
always on Tom’s face — it would light up
a room. He was a wonderful musician who
always was sensitive to the song and artist
at hand. Tom played on so many successful
records — his work and legacy will live on,”
said Craig Krampf, secretary-treasurer of
Local 257.
Survivors include his wife Melanie, two
stepsons, Kenneth Johnson and William
Roady, and three granddaughters.
Funeral services were held Dec. 4 at
Ryan L. Jones
FM Local 257 member Ryan L.
Jones, 30, died Oct. 19, 2011 in
Nashville. Jones, who played fiddle,
joined the Nashville Musicians Association
in 2004, after moving here from Scranton,
He was a classically trained violinist
who played from the age of three, and
had the opportunity to play with Charlie
Daniels as a senior in high school, as well
as several other occasions afterwards. These
performances were said to have motivated
him to play fiddle and move to Nashville,
where he became part of the country-rock
band LoCash Cowboys in 2005.
In addition to his music career, Jones
was an avid participant in the 501st Legion
and the Rebel Legion, both volunteer
organizations that promote interest in Star
Wars and participate in community charity
Jones was preceded in death by his
maternal grandparents, Frank and Rose
Gubbiotti and his paternal grandfather,
Harry Jones. He is survived by his fiancée,
Essay Hood, of Nashville; his mother,
Marilyn A. Gubbiotti, of Exeter, Pa., his
father, Lee Jones, of Scranton, Pa., and
one brother, Brett Jones. Other survivors
include aunts, uncles and cousins, as well as
numerous friends.
Funeral services were held Oct. 26 at
Highland Park Church in Nashville. The
family has requested that contributions be
made to the Tom Roady Memorial Fund,
Community Bank, P.O. Box 340, Kingston
Springs, Tenn., 37082. n
Gubbiotti Funeral Home in Exeter, Pa.,
with mass following at St. Anthony’s of
Padua Church. Interment was at Mount
Olivet Cemetery in Carverton, Pa.
The family requests memorial donations
be made to the Salvation Army, the SPCA
in Wilkes-Barre, Pa., or to the Make-AWish Foundation. n
Bobby Joe Wright
Bobby Joe Wright, 69, of Gallatin, died
Sept. 25, 2011 at Sumner Regional Medical
Center. Wright was a retired bass player who
joined the Nashville Musicians Association,
AFM Local 257, in October 1993.
Wright was born in Sumner County
July 20, 1942 to Ella Gregory Tomlinson
and William Wright. He was preceded in
death by his parents and his son, Randy Joe
Survivors include his wife, Polly Perdue
Wright of Gallatin; one daughter, Tammy
Collins of Portland; three brothers, Jimmy
Wright of Gallatin; Troy Tomlinson and
Tim Tomlinson, both of Portland; one sister,
Mary Watson of Jackson, four grandchildren
and five great-grandchildren.
Funeral services were held Sept. 27 at
Wilkinson & Wiseman Funeral Home
in Gallatin, with John McClendon
officiating. Interment followed at Old Brush
January - March 2012
Chris Kent
ass player Chris Kent, age 44, died
Oct. 19, 2011 in Portland, Ore. Kent
joined the AFM Local 257 in 2009,
and was a longtime member of country artist
Lorrie Morgan’s band.
Kent, a seasoned veteran of the stage
and studio, also performed or recorded
with a variety of artists including Toni
Braxton, Larry Carlton, Billy Preston,
Steve Winwood, Stevie Wonder, Michael
McDonald, Dizzy Gillespie and Take 6.
Dave Pomeroy, President of the Nashville
Musicians Association, said “Chris was an
amazing bass player, and a sweet, beautiful
man whose love for music was exceeded only
by his devotion to his family.”
In addition to playing bass, Kent was an
avid cook. His friend Bobbi Faye Miller
published a cookbook, which features some
of the bass player’s favorite recipes. All
proceeds will benefit the Kent family.
Kent’s survivors include his wife Lisa and
two children. A funeral service was held Nov.
5 at New Song Church in Portland, Oregon,
and a memorial service was held in Nashville
Oct. 30. Donations may be made to Grand
Ole Opry Trust Fund or MusiCares. n
Billy Joe Stroud
teel guitarist Billy Joe Stroud died July
23, 2011 in Nashville at age 71. He
was a member of AFM Local 257, the
National Music Association, First United
Pentecostal Church in Union City, and also
was a member of the Steel Guitar Music
Hall of Fame Museum in St. Louis, Mo.
He was preceded in death by his parents,
Phillip Maynard and Mollie Mae Stroud.
Survivors include his wife, Shirley Mansfield
Stroud; one daughter, Vicki Love, one son,
Nick Stroud, one sister, Brooksie Taylor;
four brothers, Newman, Charles, Fred and
Bobby Stroud; three grandchildren and one
Services were held July 26, 2011 at the First
United Pentecostal Church with interment
at Brock Cemetery in Greenfield.n
The Nashville Musician
Paul Yandell
uitarist Paul Yandell, life member
of Local 257 and former member
of Chet Atkins’ band, died Nov. 21,
2011 following a long battle with cancer.
Yandell received the final C.P.G. (Certified
Guitar Player) award, established by Atkins,
from Atkins’ daughter Merle at a ceremony
in August last year.
Originally from Kentucky, Yandell came to
Nashville in 1955 and began his career with
the Louvin Brothers. After a stint in the U.S.
Army, Yandell worked with Kitty Wells and
Jerry Reed before joining Atkins in 1975.
Yandell was a respected studio player who
recorded with Atkins, Reed, Dolly Parton,
Woody Herman, Les Paul, Perry Como,
The Everly Brothers, and many others. He
also released several solo records, including
Forever Chet, Dream Train, and In The
In a quote on Yandell’s website, he talked
about his storied career. “All I ever wanted
to do when I was a kid was to come to
Nashville and play at the Grand Ole Opry;
that was my dream night and day. The dream
eventually came true. Over the years, I’ve had
the opportunities to play with all my heroes.
What more could a guy want?”
Services were held at Hendersonville
Memory Gardens Funeral Home Nov. 25.n
“Pee Wee” Rogers
ife member George “Pee-Wee”
Rogers, 76, of Gallatin, died Oct. 11,
2011. The steel guitarist was born in
Fairfax, S.C., on Oct. 14, 1934, the son of the
late Stephen Cecil and Sara Cone Rogers.
Rogers played with Opry star Little Jimmy
Dickens for 29 years, and also worked with
Porter Wagoner, David Houston, and Jack
Greene. All told he played steel guitar at the
Grand Ole Opry for more than 40 years.
Legendary guitarist Leon Rhodes posted on
Facebook that he was praying for the Rogers’
family. “He was my friend and I am going to
miss him,” Rhodes said.
Opry staff steel guitarist Tommy White
posted on a steel player message board that
he would also miss Rogers. “Pee Wee was a
fine, fine country pedal steel guitar player.
He was the definition of a gentleman, loyal
and kind friend to everyone at the Grand
Ole Opry. He will be missed so much,”
White said.
In addition to his parents, Rogers was
for AFM
preceded in death by two brothers, Martin
and Sonny Rogers, and one sister, Mary Ann
Johnson. Survivors include two brothers,
Robert Wayne Rogers of Orlando, Fla., and
Joe Rogers of Mississippi; one sister, Margy
Conners of Savannah, Ga.; two daughters,
Tisa Chapman of Gallatin and Teri Gray of
Mt. Juliet; one son, George Henry Rogers II,
of Lebanon, and seven grandchildren.
A memorial service was held Oct. 22
at Family Heritage Funeral Home with
Chaplain Phillip Sigmon officiating. In lieu
of flowers donations may be made to the
American Cancer Society. n
Keep Your Beneficiary Card Current
Your beneficiary card designates the recipient of your Funeral Fund
check. By law, your death benefit has to be paid to the person named on
the card.Your loved ones are counting on you to make sure your named
beneficiary is correct! Please take time to check this with us.
[email protected]
The Nashville Musician
January - March 2012
For more info reach us at
Call us at 1-800-762-3444 ext 238 during
normal business hours EST
Member Status
New Members
Howard Eugene Adams
(Howie Adams)
2419 Porter Road
Nashville, TN 37206
Cell-(615)-414-8531 Hm(615)-414-8531
Kirsten M Ahnell
2808 Summer Valley Lane
Owensboro, KY 42303
Jonathan D Armstrong
212 Eaglecrest Drive
Eagleville, TN 37060
Cell-(615)-971-4501 Hm(615)-274-2328
Kenneth Edwin Blevins
601 Boyd Mill Avenue Q-8
Franklin, TN 37064
Christopher Shane Knight
(Chris Knight)
5845 Nolensville Pk #323
Nashville, TN 37211
Cell-(615)-828-6460 Hm(615)-828-6460
Melissa Gayle McClaran
5112 Overton Rd
Nashville, TN 37220
Cameron Lee Roberts
630 Freedom Place
Nashville, TN 37209
Leif Shires
1217 Bainbridge Dr.
Nashville, TN 37211
Christopher Alden Stokes
3106 Acklen Ave
Nashville, TN 37212
Kory K Caudill
ORG PIA BAS HRM DRM Cell-(901)-488-2244 Hm(615)-297-4614
595 Cliff Rd
Prestonsburg, KY 41653
Nathan Michael Stoneman
(Nate Stoneman)
Keith Merrill Davis
509 Cedar Forest Ct
Nashville, TN 37224
7704 Wakefield Dr
Austin, TX 78749
Cell-(512)-663-0895 HmErich William Wigdahl
1203 Sunnymeade Drive
Kyle Everson
Nashville, TN 37216
903 Burchwood Avenue
Nashville, TN 37216
James Edward Williams
PO Box 22972
Jason Shelly Fitz
VLN VOC PIA DBR VLA Nashville, TN 37202
223 Morris St,
Hendersonville, TN 37075
Carlos Gustavo Aguilera
John Lee Joseph Armstrong
Richard Brian Free
Bayne Bacon
(Ricky Free)
Genevieve Briggs
Robert Murray Brown
2412 Inga St
Neil Joseph Cacciottolo
Nashville, TN 37206
Ansley Reid Fleetwood
Monte Ray Good
Walter M Hartman
Chris D Graffagnino
Paul E Gregoire, Jr
617 Oak Forrest Lane
Harold G Johnson
Antioch, TN 37013-1839
Allison Kerr
Cell-(615)-554-7298 HmRonald D Levine
Thomas McAninch
Eric Hale Kinny
Alison Marie McKelvey
(Eric Kinny)
Christopher Moth
John William Ogle
3812 Lookout Drive
Jerry Louis Pentecost
Nashville, TN 37209
George G Perilli
Kimberly Perry
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.
Sherry Lee Angle
Jerry R Bacon
Dewel L Bullington
Larry Butler
Shirley Ray Clark
Charles Edward Collins 4/05/1933
Charles E Combs
William Joel Digregorio 1/08/1944
Wynema Stallings Harris 3/15/1922
Ryan Lee Jones
Chris Mark Kent
Jack Houston Pruett, Sr 5/10/1933
Thomas W Roady
George H Rogers
Walter A Smith
Dan E Spears
Albert Charles Stocker
Billy Joe Stroud
Bobby Joe Wright
Paul T Yandell
Benjamin Joseph Probus
Lang J Scott
Stan D Short
James F Thistle, II
Jacqueline E Trtan
Alan R Umstead
Catherine M Umstead
Bil Thomas Vorndick
Mark Wayne Whitehead
Marie A Winget
Application revoked
Ryan Bullington
D Anthony Valentine, II
Justin G Zimmer
Peter Glen Abbott
Brennan William Aerts
Timothy Wayne Akers
Patrick J Alger
Kenneth Wayne Anderson
Jonathan D Armstrong
Michael J Arndt
Robert Douglas Arthur
Alexander Arkadievich
Martin A Aucoin
Kelly Back
Michael T Baker
Rahsaan Jelani Barber
Russell Barenberg
Ken A Barken
John S Barron, Jr
January - March 2012
Date Joined
Stephen H Bassett
Leon Stanley Beaver
Dana Collins Belser
John Edward Berry
David Tull Bilbrey
John Douglas Billings
Emelyne Marie Bingham
Kent D Blanton
Ronald Franklin Block
Alyssa B. Bonagura
Lee J Turner
Larry L Borden
Jimmy Bowen
Anthony Lee Bowles
Richard Allen Boyer
Monty Glenn Bradford
Lauren Brettell
Michael Wayne Britt
Thomas M Britt
Alison Hilary Brown
Michael David Bub
Chris Buck
Thomas J Bukovac
Dennis J Burnside
Lauren Robin Burnette
Louis J. Caisse
Michael Brandon Calderon
Victor Caldwell
Spencer Todd Campbell
John William Carroll
Walter C Carter, Jr
Kory K Caudill
Ron Chancey
Life Member
Steven Richard Chapman
Jesse Luis Chavez
Brian K Christianson
Patrick Michael Clark
David W Cobb, Jr
Bradley Davis Cole
Christopher Coleman
Ernie L Collins
Kevin Dale Collier
Matthew M Combs
Scott A Coney
William C Cook, Jr
Gary Scott Cohen
Carolyn Brand Corlew
Wendell Terry Cox
Smith Curry
Keith Merrill Davis
Gerald Bruce Dees
John Lane Denson
Rick D Derringer
Marty Ray Dillingham
Melvin Clifford Downs, III
Stephen Drake
Howard Duck
Steven Robert Duncan
Dave Alan Dunkley
Rodney Mills Edmondson
Garry Elders
Terry Wayne Eldredge
John Anthony Elefante
Troy Anthony Engle
Donald R Ewing
Mark Lee Fain
The Nashville Musician
Robert H Farnsworth
Joshua Neil Farro
Darin Lee Favorite
Mike Feagan
Clayton Mitchell Feibusch
Michael Ray Ferguson
Marcus Edward Finnie
Jason Shelly Fitz
Thomas Flint
Patrick H Flynn
Steven Edward Forrest
Gregg Prins Fosse
Reeves Gabrels
Juan M Garcia
Avery Harmen Gardner
Steve Garrett
Richard Wyatt Gay
Mark A Gillespie
Brandon Godman
Felipe Gonzalez, Jr
Alison Felise Gooding
Steve Andrew Gorman
Benjamin Lain Graves
Dexter Green
Kirsten Marie Greer
Andy Tyler Griggs
Daniel Lenwood Groah
Joan Bell Hager
Robert A Hajacos
Erik B Halbig
Jeff A Hale
T W Hale
Andrew Michael Hall
James R Hall
Mark F Hammond
Weston V Hardy, III
James Michael Harter
Leslie Harter
William P Harter
Donald Francis Harvey
Robert B Hatter, Jr
Michael Wayne Haun
Tracy Matthew Heaston
Erick Thomas Hedrick
John D Heinrich
Herbert Lee Hendricks
Johnny E Hiland
Karl T Himmel
Michael Bernard Hodge
Nick William Hoffman
Erin Horner
David L Huff
Noah Joseph Hungate
David Huntsinger
Steve John Hunter
James E Hurst
Jim C Isbell
Calvin John Jeansonne, III
Paul Jefferson Jaqua
Leslie Lee Jewell
Billy D Johnson
James B. Johnston
Dina M Johnson
Dirk Johnson
Gail Rudisill Johnson
James Edward Johnson
Virginia Clare Johnson
Charles H Jones
David Lagrande Jones
Jan S Jones
Jose R Granados
Michael G Joyce
Joseph Daniel Justice, III
Michael Aubrey Kennedy
Donald W Kerce, Jr
Joel Thomas Key
Rhett Cody Kilby
Thomas M Killen
Richard I King
Walter R King
Tom Kirk
William A Kirsch
Franklin N Knapp, Jr
John Kochanowski
Craig Dwayne Koons
Warren Clay Krasner
Barry John Kyle
Jim Lance
John Wendell Lancaster
Keith H Landry
James Donald Langdon
Nelson Larkin
Donald Walker La Towsky
Mary Helen Law
Tracy Lee Lawrence
Sonny Lemaire
William Stephen Lewis
Woodrow A Lingle, Jr
Solomon William Littlefield
Alice Rothenbusch Lloyd
Clifford Edward Long
Jonathan Alan Long
Michael Phillip Loudermilk
Gary Lee Lunn
Ross Edward Macdonald
Frank James Macek
Philip K Madeira
Kevin D Madill
Raul Malo
Jeffrey A Marino
Robert Dale Marler
Michael Ryan Marsh
Blair Kent Masters
David Bowen Matthews
Michael E McAdam
Delbert McClinton
Eric Reid McClure
George McClure
Roderick D McGaha
Laura McGhee
Miles McPhereson
Garrett Keith McReynolds
Jeremy Douglas Medkiff
Scot Quinn Merry
Grant Mickelson
Clay B Mills
Mark Andrew Miller
Carl Edward Miner
The Nashville Musician
Membership Suspension
The Nashville Musicians Association’s annual dues for 2012 are $235
(including voluntary contribution) for regular members and $120.50
(including voluntary contribution) for Life members. A Life member
must be 65 years of age and have 35 years of continuous membership in
the AFM. Local 257 Bylaws state that a member shall stand suspended
if annual dues are not paid in full by Jan. 31 and a $10 late fee is charged.
If a member’s annual dues are not paid in full by April 1, that member
will be considered expelled, and an additional $25 reinstatement fee
applies. If membership is allowed to lapse more than one year, members
will lose their funeral benefit credit and other benefits.
Kevin Hugh Moore
Andrew C Most
Yoshiya Motohashi
Scott A Mulvahill
Laura Musten
Paul C Nelson
James T Nixon
Michael I Noble
Christopher S Norton
Leslie B Norton
Gregory Matthew North
Brian Keith Nutter
Daniel Joseph O’Lannerghty
Arthur M Oliver
Mark Oliverius
Lynn Owsley
Michael Todd Parks
Dean Pastin
Barry Lynn Patrick
Eric R Paul
Andy Peake
Bruce T Pearson
Steve M Peffer
Karen J Pendley-Kuykendall
John Harold Pennell
Justin Clay Perry
Charles F Phillips
Donald Joseph Pickert
Ethan Daniel Pilzer
James Edward Pollard
Juan Antonio Portela
Michael S Porter
Kevin M Post
Michael John Pozzebon
William W Pursell
Paul Bradley Ragland
Holly C Rang
Richard (Buck) Reid
Melvin Larry Reynolds
Rich Ripani
James Andrew Risinger
Jimmy Ritchey
Jack Earl Ritzman , III
Cameron Lee Roberts
Charles Lloyd Rose
Pamela Rose
Jeffrey Alan Ross
Gary Sadker
Chas Alan Sandford
January - March 2012
Edwin Imer Santiago
Fred Thomas Satterfield
Debbie Michelle Scott
Richard Alan Scruggs
Jamison Taylor Sevits
Robert A Shabarekh
Larry C Sharp
Wilson B Sharpe
Andrew Charles Sheridan
Scot M Sherrod
Michael John Shimshack
Leif Shires
Herb Shucher
Jeffrey D Simo
Scotty Simpson
Darran G Smith
Randal Dewayne Smith
Samuel Draper Smith
Terry Klenner Smith
Edward L Smoak, Jr
Jimmie Rodgers Snow
David C Spires
E Blaine Sprouse
Kyle Christopher Stallons
Robert Barker Stamps, Jr
Anthony M Stankas
Christopher Alvin Stapleton
William A Stevens, III
Jon R Stewart
Alan Stoker
Nathan Dale Stoops
Stephen Glen Sturm
Barry Tamburin
Steve Taylor
Bobby W Terry, Jr
Mark F Thompson
Rex Thomas
James R Threet
Anne Marie Thurmond
George Tidwell
Louis Toomey, Jr
Jonathan Marc Trebing
Samuel C Tritico
James Travis Tritt
Richard R Tunney
Jennifer J Turner
Robby O Turner
Gary Lee Tussing
Charles L Vaughan
Darrin Lee Vincent
Michael Scott Waldron
William James Wallace
Julianna Waller-Swiebel
Christopher Walters
Nathan L Walters
N Leon Watson, Jr
Michael Scott Webb
Michael V Webber
Michael Derek Wells
Garry West
Joseph Michael West
James Marshall White
Lawson Wayne White, Jr
William Monroe White, III
Dan Edward Williams
Jake Willemain
Justin G Williamson
Steve B Willets
Terry Wayne Williams
Craig E Williams, Jr
Harvey E Wilson, Jr
Leonard S Wolf
Nathan Edward Wright
Peggy Sue Wright
Cynthia Reynolds Wyatt
Jimmie L Young
Peter Donald Young
Next Membership Meeting
Monday, March 12, 2012
George Cooper Rehearsal Hall
Doors open at 5:30 p.m.
Meeting starts at 6 p.m.
Do Not Work For
The “Do Not Work For List” exists to warn
members and other musicians about
employers who, according to our records,
owe players money, pension and/or are not
working under appropriate AFM contracts.
RecordingMusicians.com - Alan and Cathy
Umstead are soliciting nonunion recording work
through this website. Do not work for them under
any circumstances without an AFM contract.
These are employers who owe musicians
large amounts of money and have thus
far refused to fulfill their contractual
obligations to the Local 257 musicians.
Tommy Sims/Positive Movement
Terry K. Johnson/ 1720 Entertainment (unpaid
contracts/unauthorized sales - Jamie O’Neal)
Jimmy Adams Media (multiple contracts/pension)
Beautiful Monkey/JAB Country/Josh Gracin
Eric Legg
Dean Miller
Casa Vega/Ray Vega
Gregg Brown/Revelator
Earworks Music/Jeff Teague
Quarterback/G Force Music/Doug Anderson
Rust Records/Ken Cooper
Accurate Strategies, Inc.
Adagio Music/Sam Ocampo Big Three
Shy Blakeman
Bottled Lightning/Woody Bradshaw
Bull Rush Inc/Cowboy Troy
Cat Creek Publishing
Century Music/Art Ward
Dave Cobb Productions
Compass Productions - Alan Phillips and David
Daddio Productions/Round Robin Records/Jim
Jason Deere Music
Summer Dunaway
Field Entertainment Group/Joe Field
Goldenvine Prod./Harrison & Darrell Freeman
Greg Holland
Home Records/David Vowell
Hot Skillet/Lee Gibson
Mark Hybner
Katana Productions/Duwayne “Dada” Mills
Kenny Lamb
Line Drive Music
Lyrically Correct Music Group/Jeff Vice
MAK Music/Lawrence Mathis
Matchbox Entertainment/Dwight Baker
MCK Publishing/Rusty Tabor
Marty McIntosh
Morris Publishing Group
Steve Nickell
On The Green/Kevin Beamish
Anthony Paul Company
RLS Records-Nashville/Ronald Stone
Region One Records
Sharp Image Energy/Vince Hatfield
Shaunna Songs/Shaunna Bolton
Shear Luck Productions/Wayd Battle
Singing Honey Tree
Sleepy Town/David Lowe
Small Time Productions, Inc./Randy Boudreaux
Sound Resources Prod./Zach Runquist
Spangle 3/Brien Fisher
Sterling Production Mgmt/Traci Sterling Bishir
Adam Tucker
Wildfire Productions/Donna Phillips
AJG Music Group
Travis Allen Productions
Ascend Productions
Jason Blaine
Blue Canyon Music/G. Randolph Compton
Jimmy Collins
Comsource Media/Tommy Holland
Conrheita Lee Flang/Chris Sevier
Ricky D. Cook
Coyote Ugly/Jeff Myers
Data Aquisition Corp./Eric Prestidge
Daywind Records
Derrin Heroldt
Diamond Struck/Chuck Howard
FJH Enterprises
Larry Ferguson/Ferguson Music
First Tribe Media
Jimmy Fohn Music
Matthew Flinchum DBA Resilient
Rebecca Frederick
Goofy Footed
FUNL Music/Tamara Alan
Green Hill Productions
Rick Gunn
Joe Hand Music Productions
Heritage Records/Lew Curatolo
Highland Music Publishing
Honey Tree Prod.
Howard Music Group
In Light Records/Rick Lloyd
Integrity Media Group
Don Kreiss DBA Hope Joint Venture
Pete Martinez
Joe Meyers
Jason Morales
O Street Mansion
Tebey Ottoh
Steve Pasch/SB21Music LLC
Propel Music
Reach Ministries
Ride N High Records
Star Path Prod./Wayde Battle
Steal Hearts Music, Inc.
Stonehall Records
Strange Child Records/Susan Toney
Jason Sturgeon Music
Nathan Thompson
Tin Ear
Triumphant Quartet
Veritas Music/Jody Spence
Roy Webb
Whiskey Row
Write It Lefty/Billy Davis
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 make sure you get your
proper pension contribution for your work.
Allen McKendree (demo signature)
January - March 2012
Barry Preston Smith (Demo)
Com Source Media (limited pressing)
Coyote Ugly/Jeff Myers (Demo)
Danielle Lauderdale (Demo)
Elite III Records (demo signature)
FJH Enterprises (phono/limited pressing)
Generator Music (demo signature)
Ginger Lewis (demo signature)
Honey Tree Prod. (demo signature)
Hope Productions (demo signature)
Jeffrey Green/Cahernzcole House (limited
Jimmy Collins (Demo)
Jimmy Fohn Music (demo signature)
Journey Records (limited pressing)
Malaco (demo signature)
Maverick Management Group (phono/demo
Nashville Midnight Oil (demo signature)
Nathan Thompson (limited pressing)
PSM (limited pressing)
Randy Hatchett (demo signature)
Rick Henry (limited pressing)
Robert David Stacy (demo signature)
Ronnie Palmer (demo signature)
Stage 7 Prod./Jerry Medkiff (limited pressing)
Triumphant Quartet (phono)
Allianz (demo signature)
Blue Desert Music Group (phono)
Caribbean Country Management (demo signature)
Chariscourt, Ltd. (phono)
Conrheita Lee Flang/Chris Sevier (demo
Data Acquisition Corp./Eric Prestidge (demo
Double J Prod./Tony Ramey (demo signature)
Engelbert Humperdinck (demo signature)
First Tribe Media (phono)
Heritage Records/Lew Curatolo (demo signature)
Joe Meyers (phono)
KJ Entertainment (limited pressing)
Labeless Records/Coy Ray/RPB Prod. (phono)
MS Ent./Michael Scott (limited pressing)
Matachack James (limited pressing)
Peter Good (demo signature)
Pitchmaster/Carroll Posey (demo signature)
Quarterback/G Force Music/Doug Anderton
Region One Records (limited pressing)
Shy Blakeman (limited pressing)
Starpath Prod./Wayde Battle (demo signature)
The Pitchmaster (demo signature)
Title tunes (demo signature)
Travis Allen Productions (limited pressing)
Domination Records LLC (Limited Pressing)
Kurt A. Koble (Limited Pressing)
Point To Point LLC (limited pressing)
Sammy Harp Productions (limited pressing)
Wade Spencer Ministries, Inc. (phono)
Wowboy Music Group (demo signature)
YTG 40/Lawrence B. Gottliebs (demo signature)
Christopher Mortland (limited pressing)
Cottageworks/Betsy Foster (limited pressing)
44 West/Mike Welch (limited pressing)
Francis X. Sullivan
Jason Kerr Ministries - Don Goodman
J. Carlos (limited pressing)
Lance Productions (limited pressing)
One G Productions (limited pressing)
Roxanne Entertainment
Taylor Productions (limited pressing)
TBN, Paul Crouch (phono/video)
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