Document 67817

Garth Brooks
W i l l B a rr o w
Gordon Mote
B i l l y C u rri n g t o n
Riffs on The Rascals
Official Journal of AFM Local 257
January– March 2014
On Life, Love, and
the Power of a Song
January–March 2014 1
Official Journal of the Nashville Musicians Association, AFM Local 257 | January—March 2014
Details on the next membership meeting scheduled for Monday, Feb. 24, which
will include a vote on two bylaw proposals; plus minutes of past meetings.
State of the Local
President Dave Pomeroy talks about positive changes in Local 257 and the
AFM, and the importance of working on the card.
New Grooves
Secretary-Treasurer Craig Krampf discusses the history of the AFM and
Local 257.
Reports on the ACA, CMA and AMA awards, Country Music Hall of
Fame inductions, and more.
Local 257 Recording Director Steve Tveit talks about getting paid direct.
Ike Harris and Andre Reiss pick
at the 111th anniversary party
Heard on the Grapevine
The notable comings and goings of Nashville Musicians Association members.
Member milestones, Local 257 events, and more.
Cover story: Loretta Lynn
Warren Denney talks to our life member Loretta Lynn about her iconic career.
Feature Interview: Felix Cavaliere
The leader of The Rascals grooves on the legendary band’s past, present, and future.
Record reviews for Garth Brooks, Will Barrow, Gordon Mote, and Billy Currington.
Jazz & Blues
February is guitar month as Shawn Purcell, Pat Metheny and Peter Bernstein all perform in Music City.
Symphony Notes
Symphony librarians make sure to keep the music playing.
Thursday, Feb. 13 from 4­– ­­6 p.m.
11 Music Circle North
Respond to Rachel Mowl
at [email protected] or (615)244-9514
Felix Cavaliere
Final Notes
We bid farewell to Leon Ashley, Nelson Larkin, Richard Jack “Turtle”
Ross, Cal Smith, Robert Thames and Tommy Wells.
Join us for our
Nashville Musicians Association
Life Member Party
Loretta Lynn
Member Status
Do Not Work For list
Cover Photo by Russ Harrington
Photo by Joe Russo
January–March 2014 3
Next General Membership Meeting Monday, Feb. 24, 2014
O f f i c i a l Q u a rt e r l y j o u r n a l o f t h e
n a s h v i l l e M u s i c i a n s A s s o c i at i o n
AF M L o c a l 2 5 7
managing editor
Dave Pomeroy
Craig Krampf
Kathy Osborne
Leslie Barr
Kent Burnside
Zach Casecolt
Warren Denney
John Lomax III
Roy Montana
Laura Ross
Steve Tveit
Craig Krampf
Micky Dobó
Dave Pomeroy
ART DIRECTION Lisa Dunn Design
Ad Sales Anita Winstead
Local 257 Officers
President Dave Pomeroy
Secretary-treasurer Craig Krampf
executive board Jimmy Capps
Duncan Mullins
Andy 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
Office Manager Anita Winstead
Electronic Media Services
data entry
Recording Dept. Assistant
Steve Tveit
Teri Barnett
Rachel Smith
Lydia Patritto
director, live/Touring Dept. Leslie Barr
and Pension Administrator
Membership Coordinator & Rachel Mowl
Live Engagement/MPF Coordinator
Member Services/Reception Laura Birdwell
@ 2013 Nashville Musicians Association
P.O. Box 120399, Nashville TN 37212
All rights reserved.
Minutes of the Executive Board Meeting, Monday, Sep. 10, 2013
Attending: President Dave Pomeroy, Secretary-Treasurer Craig
Krampf, Jonathan Yudkin (JY),
Laura Ross (LR), Jimmy Capps (JC),
Tom Wild and Duncan Mullins
(DM). Absent with excuse: Tim
Smith and Andy Reiss.
Whereas, Delegates to the 2013 AFM Convention approved a bylaw change that more accurately reflects the cost of meals and incidentals when traveling outside Nashville; and
Pomeroy called the meeting to order
at 9:11 a.m.
The next General Membership meeting will be Monday, Feb. 24, 2014 at 6 p.m.
On the agenda are two bylaw proposals, printed below. There will be discussion
on a number of important issues, including officer salaries. Please make plans to
attend and get involved in the business of your local. Doors open at 5:30 p.m.
Whereas, AFM per diem rates will automatically follow the established IRS rate; and
Whereas, Local 257 normally treats per diem in the same manner as that established for
the Federation; therefore, be it
Resolved, That Article I: Officers and Committees - Duties of Officers: Compensation and
Benefits, Sections 46, 47 and 50 be changed to mirror AFM policy as follows:
Section 46. Compensation for the Office of President shall be the salary last determined
by the membership. Whenever the interests of the Association demand his/her leaving
the immediate jurisdiction (exceeding 90 miles) of the Local, he/she shall receive fifty
dollars ($50.00) per diem at the applicable IRS rate and all hotel and travel expenses.
Further, he/she shall be reimbursed for all accountable expenses incurred while attending to official business of the Association for which there is no other financial provision.
He/She shall be allowed two (2) weeks paid vacation annually. He/She shall be allowed
three (3) weeks paid vacation annually after ten (10) years of continuous service.
Section 47. Compensation for the Office of Secretary/Treasurer shall be the salary last
determined by the membership. Whenever the interests of the Association demand his/
her leaving the immediate jurisdiction (exceeding 90 miles) of the Local, he/she shall
receive fifty dollars ($50.00) per diem at the applicable IRS rate and all hotel and travel
expenses. Further, he/she shall be reimbursed for all accountable expenses incurred
while attending to official business of the Association for which there is no other financial provision. He/She shall be allowed two (2) weeks paid vacation annually. He/She
shall be allowed three (3) weeks paid vacation annually after ten (10) years of continuous service.
Section 50. Elected Convention Delegates who are not full-time employees of the Local
shall receive a salary of fifty dollars ($50.00) per day. They shall receive fifty dollars
($50.00) per diem at the applicable IRS rate and all travel expenses not allowed by the
Submitted by Laura Ross – Executive Board Recommendation - Favorable
Secretary’s Report
MSC to approve the minutes of Aug.
12, 2013: TW and LR.
Treasurer’s Report
Krampf distributed the updated
six-month financial comparison.
Discussion followed. Krampf led the
Board through the remainder of the
financial report. MSC to accept the
report: JY and DM.
President’s Report
Pomeroy reported on the following:
1.AFM film negotiations: Pomeroy
just returned from round number
four of negotiations. The AFM and
film industry are getting closer, but
are still without a deal. Round five
of talks will resume in October.
2.TNN: Negotiations are continuing
and we appear to be getting closer
to an agreement.
3.General Jackson: Negotiations will
begin shortly.
4.Music City Roots: Pomeroy has been
in discussion with them for some
time attempting to arrive at an equitable method of payment distribution for musicians.
5.Musicians recorded parts being
used on stage: It appears more of
Minutes of the Executive Board Special Meeting Monday, Sept. 24, 2013
Attending: President Dave Pomeroy, Secretary-Treasurer Craig Krampf,
Jonathan Yudkin (JY), Tom Wild (TW), Duncan Mullins (DM), Andre Reiss (AR)
and Tim Smith (TS). Absent with excuse: Laura Ross and Jimmy Capps.
Pomeroy called the meeting to order at 9:03 a.m.
Pomeroy explained that this was a special meeting called to approve the 2014 dues
structure, therefore, there will be no president and treasurer reports.
Proposed dues structure for 2014:
A number of various dues scenarios were presented and discussed. MSC the following 2014 dues: AR and TS. Unanimously approved.
Whereas, some of our AFM brothers and sisters have or will become disabled and are no
longer able to work as a professional musician, and;
2014 Dues Breakdown
$138.00.......Local Dues (Life member Local dues $34.50)
*66.00........AFM Per Capita (Life member per cap $50.00)
15.00........Funeral Benefit Fund
27.00........Funeral Benefit Assessment
3.00........Emergency Relief Fund
3.00........Emergency Relief Fund (voluntary)
2.00........AFM Tempo Fund (voluntary)
Whereas, a disabled member may be unable to pay full Local Regular dues but may still
want to remain a member of the AFM, be it
$254.00........Total 2014 Dues Regular Members (including $5 voluntary)
$134.50........Total 2014 Dues Life Members (including $5 voluntary)
SErgeant-At-Arms Chuck Bradley
Nashville Symphony steward Laura Ross
Resolved, that Article II, Section 1, be amended to include as follows:
NEW SUBSECTION Article II, Section 1E:
“Disabled Membership”: Members in good standing in Local 257 for more than five
years who are disabled and no longer able to work as a professional musician, can, with
proper documentation of their medical diagnosis and yearly approval by the Local 257
Executive Board, pay Local dues at 33 percent of Regular Member rate.
All other yearly assessments and per capita dues will remain at the regular rate.
Submitted by Dave Pomeroy and Craig Krampf - Board Recommendation: Favorable
* Note: A $10 increase in AFM per capita dues was approved at the AFM Convention.
Reading of the minutes
MSC to approve the minutes of Sept. 10, 2013 as amended: TW and DM. Unanimously approved.
MSC to approve new members: AR and JY.
MSC to adjourn: TW and DM.
Meeting adjourned at 9:47 a.m.
this is taking place. We have recently worked out payment for this
type of use with several acts. It is
based on the AFM Pamphlet B touring scale.
TW reported on his first AFM National
Convention. He said it was an incredible experience to witness the unified and positive spirit of the AFM in
MSC to approve new members: JC and
MSC to adjourn: LR and TW
Meeting adjourned at 10:21 a.m.
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Respectfully submitted by Craig Krampf
January–March 2014 5
State of the Local
New Grooves
By Dave Pomeroy
By Craig Krampf
shall be considered a professional musician.”
Within its first ten years, the AFM
expands to serve the U.S. and Canada,
organize 424 locals, and represent 45,000
musicians throughout North America.
Owen Miller, the first president of the AFM,
said in 1896: “The only object of the AFM is
to bring order out chaos and to harmonize
and bring together all the professional
musicians of the country into one united
progressive body.”
“The encouragement and positive feedback we get
from you let us know we are moving in the right
direction, and we hope you will always remember
that we work for you, not the other way around.
We take that mission very seriously.”
It’s hard to believe it’s been five years
since I was elected president of Local
257. Much has happened in that time,
and I am very proud of what we have
accomplished to make the Nashville Musicians Association more responsive and
responsible to our members. It has been
a huge growth experience for me on
many levels, and I am grateful to everyone who has helped me along the way.
The team we now have in place at
the Nashville Musicians Association is
the best we have ever had, and all the
staff understands our main focus is to
provide support and promote respect
for musicians and the work they create.
Your involvement and belief in our efforts gives it all context and meaning,
and is greatly appreciated.
Unity brings change and a new
The American Federation of Musicians
is also very different today than it was
in 2009. It is gratifying to see that the
changes we brought to Local 257 helped
pave the way for a major shift in attitude
and direction on a national level in 2010.
Being elected to the AFM International
Executive Board has allowed me to help
move the AFM’s focus away from the
wasted energy of political infighting and
back to our core mission — taking care
of our members. AFM President Ray Hair
and the IEB understand the importance
of our work at this critical time in the
music industry. There’s a new and im6 THE NASHVILLE MUSICIAN
proved sense of community in our joint
efforts to solve problems, and with the
increased funding voted in at the 2013
convention, we now have the resources
to take things to a new level.
It has been very rewarding to be a
part of building a new synergy between
working musicians and union leadership.
Being an AFM member is something to be
proud of, and we recognize the positive
impact that the work of AFM members has
on the world. With new business models
sprouting like weeds, it is our responsibility to adjust and react to each new development with the best interests of all musicians always at the forefront.
Our trip to Beijing in 2012 put the
AFM at the cutting edge of intellectual property issues, and the new FAA
regulations allowing musicians to carry
their instruments onboard have been
implemented and are making a difference in the lives of traveling musicians.
This is the power of working together.
We will always be stronger as a group
than as individuals, but that doesn’t
mean that you don’t have a voice. Your
input is valuable and essential to keeping our mission on track.
Taking care of business
In Nashville, we have had a long history of people doing the right thing
and employing musicians under an
AFM contract. This has not happened
by accident. The main reason is that for
many years, Nashville players have understood the value of working on the
card, and have insisted on it. Most producers and employers with any history
of working in Nashville get it too. Unfortunately, there are still plenty of people who don’t get it, and make promises
they have no intention of keeping.
This is where proactive players
make a difference. It is always best to
take care of business on the front end,
by making sure that the AFM signatory
paperwork is in place. It’s not complicated and we can help you with it. Otherwise, all your work can be for nothing — literally. It’s not even like going
the extra mile, it’s more like walking
across the street to keep from getting
hit by a car!
The Power of Music
Music crosses boundaries, brings people together and changes lives. The
work of countless Local 257 members
has contributed greatly to the astounding growth of today’s Nashville. A
prime example are the musicians of the
Nashville Symphony, who have given
greatly to our community for many
years in so many ways. It has never
been more important as it is now for all
of us to support them as the NSO goes
through a challenging period financially. Taylor Swift’s donation of $100,000
to the symphony in December speaks
volumes about her belief in their importance to our community, and we all
thank her for her generous gift. I urge
all of you to support the symphony in
every way you can.
The encouragement and positive
feedback we get from you let us know
we are moving in the right direction,
and we hope you will always remember that we work for you, not the other
way around, and we take that mission
very seriously. It is an honor to represent all of you. Until next time, keep
the faith and let us know how we can
help you accomplish your goals.
Greetings, brother and sister musicians.
During the past holiday season, it was
almost impossible not to read articles, see
shows on TV and postings in social media
reflecting on 2013, and resolutions for
the new year. It appears most of us have a
natural tendency to reflect and resolve, so I
thought it might be interesting to look back
on the history of our union.
Timeline for the founding of the
American Federation of Musicians
An early attempt at organizing started with
the New York City-based Musical Mutual
Protective Union in 1878, which took the
first steps to create and fix union scales for
different types of music.
1886: Delegates from 15 protective unions
form the National League of Musicians
(NLM) to address issues of common
concern to musicians.
1887: The American Federation of Labor
(AFL) and the Knights of Labor begin
inviting the NLM to affiliate with the Labor
Movement, and are continually refused. The
situation sparks a long and heated debate
between different factions of musicians,
namely the “silk hats” who preferred to be
known exclusively as an artists’ organization,
and the “stove polishers,” who believed that
union affiliation was the next logical step in
advancing the cause of working musicians.
1896: Pro-union forces within the NLM
break ranks and request a charter from AFL
President Samuel Gompers. At Gompers’
invitation, 31 delegates representing 21
locals, together with a representative of the
NLM, meet in Indianapolis, Ind. A majority
vote to form the American Federation
of Musicians (AFM), representing 3,000
musicians nationally. They resolve its first
Standing Resolution: “That any musician,
who receives pay for his musical services,
A brief history of Local 257
Our local received its charter from the AFM
Dec. 11, 1902. Eight Nashville musicians got
together and decided the time was right
to become affiliated with the AFM. Our
original charter is framed and hangs in our
boardroom, and if you would like to see it,
simply ask. I didn’t know until I became an
elected officer why our local was number
257. That number denotes our chronological
place in joining the AFM. Cincinnati, by the
way, is Local 1.
Today we have approximately 2,400
members and are the third largest AFM
local in the United States, after Local 802
in New York City, NY., and Local 47 in Los
Angeles, Calif. Our members work in every
creative aspect of music, from recording
sessions, to live work in clubs, concert and
festival venues, and symphonic halls locally
and around the world. They are professors
at universities and colleges, and also
secondary educators. Our members teach
private lessons, donate time to non-profit
organizations, write music, produce, and
some even work as elected officers of our
local. We truly believe that our members are
“The Finest Musicians In The World.”
Technology — past and present
If you think about it, the mission of the
AFM today remains essentially the same as
when it began, though it has evolved over
time and been transformed by various
advancements in technology. For example,
in 1927 the AFM had its first encounter with
mass unemployment brought about with
the release of the first talkie, The Jazz Singer.
Eventually, some of these lost jobs were
recovered when music soundtracks recorded
under union contracts began in earnest
during the 1930s.
In 1937 AFM President Weber took
a strong stand against the recorded music
displacing live musicians on radio and
threatened a nationwide radio strike. He
eventually negotiated a deal with radio
network affiliates that required the networks
to spend an additional $2 million on staff
musicians. In 1944, as part of an agreement
to end a temporary ban on recording,
Presidents Petrillo’s efforts led to the AFM
and the recording companies agreeing to
create the Recording and Transcription
Funds, now called the Music Performance
Trust Fund.
Advancements in technology are
cyclical and can threaten jobs. We and the
AFM must continue to adapt and search
for positive resolution. In the last decade or
so, we have had to come to terms with the
Internet, music file-swapping, streaming
audio, “virtual” orchestras, and more.
Through efforts made by President Dave
Pomeroy, there is now a scale for recording
via the Internet, called the Single Song
Overdub Scale; this scale has been adopted
for use throughout the AFM. The AFM and
Local 257 continue the fight to make sure
musicians are paid whether in a virtual or
offline setting, and continue to lobby for
expansion of performance rights and piracy
protection for musicians.
Beyond technological strategies, our AFM
leadership strives to continue to serve the
membership by increasing efficiency,
organizing new work, and staying available
and focused on the needs of locals across the
federation. It is Dave’s and my belief, and
that of countless other union officers and
members, that the AFM is stronger and more
unified than ever.
This attitude is also at the forefront at
Local 257. We are here to help. Whatever
you need or whatever problem you may
be facing as a union musician, you can be
assured that we will do all we can to help
find a resolution. Together, we can achieve
positive change for the betterment of all.
We need to stick together, be pro-active
union members, and live in the present, but
prepare for the future head-on.
*Courtesy of International Musician, Centennial Issue, October, 1996,
American Federation of Musicians; The Performer and the American Federation
of Musicians, George Seltzer, The Scarecrow Press, Inc., 1989; International
Musician, July 2001; Professional Musicians Association Local 47 website. TNM
January–March 2014 7
Local 257 Members Cowboy Jack clement
and Bobby Bare inducted
Nashville Musicians Association
life member Bobby Bare (left)
was inducted to the Country
Music Hall of Fame in October
along with Kenny Rogers.
Local 257 members Bobby Bare and
Cowboy Jack Clement were inducted
into the Country Music Hall of Fame
Oct. 27 in Nashville, along with singer
Kenny Rogers. Bare and the late Clement, who died Aug. 8, were honored
during a star-studded Medallion Ceremony with testimonials and performances. Some of those paying tribute
included Rodney Crowell, Tom T. Hall,
Kris Kristofferson, Buddy Miller, John
Prine, Marty Stuart and Garth Brooks.
Museum director Kyle Young said
Tennessee native Clement “earned respect, admiration and affection as one
of the most accomplished producers,
songwriters, and entrepreneurs in the
history of country music.” Prine recalled his visits to Clement’s Cowboy
Arms Hotel & Recording Spa: “No matter how I was feeling when I went in
there, I always walked out feeling like I
was nine years old,” Prine said.
Clement’s daughter Allison accepted the award, and spoke of the difficulty of giving a speech for a man with a
thousand personas. She said the answer
to this problem came to her in a dream,
in which Clement told her he was right,
there was music in heaven. Clement’s
daughter concluded with one of his
most well-known sayings about work8 THE NASHVILLE MUSICIAN
ing in the music business: “If you’re not
having fun, you’re not doing your job.”
In introducing Bare, Young said that
the artist’s talents once led his former
manager, Bill Graham, to describe Bare
as the “Springsteen of country music.”
Performances that honored Bare included Crowell singing “Detroit City,” and
Kristofferson with “Come Sundown.”
Tom T. Hall, who inducted Bobby
Bare, recalled their meeting over fifty
years ago, and the lifelong friendship
that resulted. He shared some tales of
their exploits with the audience, and
noting that he was 77 and Bare was now
78, said “It’s beginning to look like we’re
going to get away with it.”
Bare said of his honor, “This is a big,
big deal. This is as far as you can go and
as high as you can go.” Bare cited many
who played roles in his success, and said
“You can’t make it without them. It’s
a combination of all the very talented
people I have come in contact with and
learned from. I’ve been blessed. The
gods have smiled on me. I’m just a singer, that’s all I am. But ain’t I something?”
The all-star house band included
drummer Eddie Bayers, electric guitarist J.T. Corenflos, Mike Johnson on steel
guitar, bassist Michael Rhodes, Deanie
Richardson on fiddle and mandolin,
and Biff Watson on acoustic guitar.
The night concluded with Hall of
Fame members and the evening’s performers singing “Will the Circle Be Unbroken?”
Considered country music’s most
prestigious event, the Medallion Ceremony represents the official induction
of new Hall of Fame members. The private celebration was the first held at the
expanded facility’s CMA Theater.
Blake Shelton
Blake Shelton on a ROll
Taylor Swift
Taylor Swift
AMA Honoree, Gives Back
Local 257 member Taylor Swift who made the news in December with her $100,000 donation to the Nashville Sympony, scored four awards at the 2013 American Music Awards,
held last November in Los Angeles. In addition to the night’s
top honor, Artist of the Year, Swift won Favorite Album for
RED, Favorite Female Artist, Country, and Favorite Female
Artist Pop/Rock.
Nashville Musicians Association member Blake Shelton continued
his awards streak for 2013 with multiple wins at the American
Country Awards, held in Las Vegas in December. Shelton was
honored with Album of the Year for Based On A True Story… and
Single of the Year, Music Video of the Year, and Music Video of
the Year — Male, for “Sure Be Cool If You Did.”
Other AFM Local 257 members who were honored include
Taylor Swift and Keith Urban along with Tim McGraw for the
collaboration “Highway Don’t Care” which won for Single of
the Year: Vocal Collaboration, and Music Video of the Year:
Group Collaboration.
Finally, Swift was presented with the first-ever Worldwide Artist Award, which recognizes a country artist who has
achieved global success.
Mac McAnally awarded
CMA Musician of the Year,
his sixth consecutive win in that category
Local 257 member Blake Shelton made history at the 47th Annual CMA Awards, as he and his wife, Miranda Lambert, became the first married couple to win top honors as CMA Male
and Female Vocalist of the Year four years in a row.
Shelton was also awarded Album of the Year along with
producer Scott Hendricks for Based on a True Story.
Other local members who were awarded include guitarist Mac
McAnally as Musician of the Year, his sixth consecutive win in that
category; as well as Taylor Swift and Keith Urban for their work
with Tim McGraw for the video “Highway Don’t Care,” which was
awarded as Musical Event and Music Video of the Year.
Allison Clement, Cowboy Jack Clement’s daughter, spoke at his CMHOF induction.
Mac McAnnally
January–March 2014 9
on the Grapevine
By Steve TVEIT
Getting Paid Direct
When we look over our 2013 records for unpaid or late contracts we find the main
offenders are once again independent artists and companies. Interestingly, most have
well-established relationships with musicians over the last few years. If they don’t
have the money available the day of the session — chances are good they may have
a problem later as well.
When pressed for payment a variety of excuses are usually given:
The financial backer pulled out
The producer is in the hospital
The artist is in the hospital
The artist’s cat is in the hospital
The players are friends of mine and I have paid them so much in the past,
I’m sure they won’t mind if I’m late
n We are waiting for a label to pick up the project and pay everyone
Okay — all but one of these excuses we have actually heard. We strongly encourage
you to request getting paid direct for independent projects whenever you can. If
after any session you have concerns, give us a call immediately.
For more information on being paid direct,
please contact Steve Tveit at 244-9514, ext.
238, or email him at [email protected]
Remembering Ray Price
By Zach Casebolt
People — particularly fellow Nashville
musicians — always ask me what it is like
to be a Cherokee Cowboy with Ray Price.
I could never appropriately answer that
question for fear of being misunderstood,
but the real answer is it was hard on you.
A lot of things were frustrating. A lot of
times things were hilarious. A lot of times
you felt like the city you loved and the music you loved had turned its back on you.
Sometimes not everyone made it home.
One thing that always stuck out in
my mind is that every audience member I talked to had the same thing to say
about the shows. They were the greatest
concerts they had witnessed — ever. The
dichotomy between my experience in
the band and the public’s experience is
beginning to make a great deal of sense
as I reflect on the death of Ray Price.
I am now an artist. Ray Price taught
me what that means. Without telling us
what he was doing, he gave us Cherokee
Cowboys the greatest lesson in music and
made damn sure we understood it. When
the first chunk of “Crazy Arms” rang out
in the arena or the concert hall or the
dirtiest of honky tonks, people weren’t
hearing a great shuffle or amazing fiddle
playing or even the best voice in the busi10 THE NASHVILLE MUSICIAN
ness; they were hearing loneliness. When
they heard “The Other Woman” they
heard the indiscretions in their own lives.
And, when they heard “For The Good
Times” they heard redemption.
I believe Ray was a great and beautiful mirror into the hearts and souls
of all who would listen. Each of us was
entrusted every night with helping Ray
convey those things to an audience. In
so doing it was essential we speak from
a place of honesty. The years I spent with
Ray Price were some of the most raw
and stormy and fateful years of my life.
I think he saw that in a musician. We all
entered this band a little lost. We were the
outcasts, the smart mouths, the badasses,
the kid geniuses, the hurting
alcoholics, the forgotten. We
were also the best. Period.
Regardless of the clothes
we wear, what our bodies look like or if we even
have hair, we were chosen
to tell the great American
tale. In so doing we became
artists. This music became
transcendent. We could see
these songs in our lives, as
could you. We could share
those experiences and relate
to an audience on a level for which the
English language has no word.
I worked for the chief of country
music for a little over 2000 days. Not
once did I hear him talk of trucks or tequila shots or tailgating or ice cold beer.
He spoke of love and life and people
and family and the significance of being a good person and an honest person
and — what struck me most — the importance of saying something that matters to people with these musical gifts.
I don’t know where my road leads
to now. But I know that because of the
lessons Ray Price and The Cherokee
Cowboys taught me I know how to play
music. Thank you Ray Price.
Annual Room In the Inn Christmas Fundraiser
Dave Pomeroy’s 14th annual Nashville Unlimited Christmas fundraiser for the Room
In the Inn homeless program at Christ Church Cathedral was the most successful ever,
raising more than $30,000. The concert finale featured the Nashville Mandolin Ensemble, led by Matt Combs (far left) and guests including (l – r) Richard Smith, Pat Bergeson, Pomeroy, Paris DeLane, John Cowan, Eli Bishop, Kathy Mattea, Annie Sellick,
Chip Esten, David Spicher, Pete Huttlinger and Bill Cooley performing “Silent Night.”
Cash Album to be
released in March
A newly uncovered album from the late
Johnny Cash will be released in March.
The Local 257 life member recorded Out
Among the Stars in the early ‘80s with producer Billy Sherrill. The album was never
released and then disappeared when Columbia Records dropped Cash in 1986.
Fortunately, Cash had stashed the tapes, which were discovered last year. The 12-track
album includes a duet with Waylon Jennings and two with Cash’s wife, June Carter Cash.
Several well-known Local 257 musicians played on the project, including Marty Stuart on
guitar and mandolin, Jerry Kennedy on guitar, Pete Drake on steel guitar, Hargus “Pig”
Robbins on piano, and on bass, Henry Strzelecki.
The recordings on Out Among The Stars first surfaced when John Carter Cash was cataloging his father and mother’s exhaustive archives in Hendersonville, Tenn., and at the Sony
Music Archives. “When my parents passed away, it became necessary to go through this
material,” he says. “We found these recordings that were produced by Billy Sherrill in the
early 1980s…they were beautiful.”
Cash, along with co-producer and archivist Steve Berkowitz, enlisted several musicians, including Marty Stuart, and Buddy Miller to collaborate in restoring the record.
Johnny Cash died in 2003 at the age of 73.
John Prine Special
spotlight exhibit at CMHOF
Iconic singer/songwriter John Prine will
be the subject of a special spotlight exhibit at the Country Music Hall of Fame.
John Prine: It Took Me Years to Get These
Souvenirs, will incorporate instruments,
manuscripts and other relics spanning
Heard on the Grapevine
Prine’s four-decade career.
The exhibit will trace Prine’s life from
his early musical influences to events of his
acclaimed career. Prine, a native of Illinois,
began playing guitar at age 14, and after
a stint in the U.S. Army, started writing
songs while working as a postman. In 1971,
Kris Kristofferson heard him perform and
helped Prine land his first record deal.
That debut self-titled album included
“Hello In There,” “Paradise,” and “Angel
From Montgomery,” songs which all became beloved classics, and which were
also recorded by Bette Midler, the Everly
Brothers, and Bonnie Raitt, respectively.
The album also included “Sam Stone,”
whicn critic Roger Ebert called “one of the
great songs of the century.”
In 1980 Prine moved to Nashville,
and in 1991 The Missing Years earned Prine
his first Grammy for Best Contemporary
Folk Album. Another Grammy followed
in 2005 for Fair & Square.
Some of the items in the exhibit are
Prine’s first guitar — a 1960 Silvertone
Kentucky Blue archtop — handwritten
lyrics, doodles, awards, and concert posters. The exhibit opened Nov. 15 and will
run through May 2014.
Oates and Tallent to be
inducted into the Rock
and Roll Hall of Fame
Local 257 members John Oates and
Garry Tallent will be inducted into the
Rock and Roll Hall of Fame.
Oates will be recognized along with his
partner Darryl Hall for his work in Hall
& Oates, and Tallent as part of the E Street
Band will receive the Hall of Fame’s Musical Excellence award.
The ceremony is scheduled for
April 2014 at the Hall of Fame in Cleveland, Ohio.
Photos by (l) Juan Patino (r) Bob Delevante TNM
January–March 2014 11
Tradition, Education, And
Celebration at local 257
1. Andy and Rachel Leftwich relax before
Three Ring Circle’s performance at the Local
257 111th Anniversary party.
1. Dan Huff brings his son, drummer Elliott to join
2. Save The Music America (STMA) Day was
Local 257, which makes three generations of members
in the family, including Dan’s father Ron, an arranger.
proclaimed by Nashville Mayor Karl Dean and
Governor Bill Haslam on Dec. 5. STMA’s mission
is to educate the public about music piracy. (L-R)
STMA Executive Director Mark Dreyer, Craig
Krampf, NSAI Executive Director Bart Herbison and STMA board member Barry Shrum.
2. Multi-instrumentalist Paul Kramer receives his
Local 257 25-year pin.
3. Local 257 members volunteer for the Metro Schools
Career Fair. L-R Tiger Fitzhugh, Ray Von
Rotz, Jenee Fleenor, Tim Smith and
Shannon Williford.
3. Drummer Ken Sanders receives his Local
257 life member pin and congratulations from
fellow drummer Craig Krampf.
4. Bluegrass team Eddie and Martha Adcock receive 25-year member pins at the 111th anniversary party.
5. Longtime friends guitarist-fiddler Tom Campbell
and drummer Mike Streeter, receive their life
Congratulations to local 257 Life Memebers
member pins together.
4. Bassist-arranger Sam McClung celebrates
his AFM life membership with Dave Pomeroy.
5. After receiving his life member pin, William
Buck serenaded the local with holiday songs.
January–March 2014 13
the path with heart
by Warren Denney
Photo by Russ Harrington
14 THE
When Loretta Lynn was awarded the Presidential Medal of Freedom this past November in a ceremony held in Washington, D.C.
at the White House, President Barack Obama was confirming
what the country singer’s fans around the world already know —
that she is an American original who has made her home a better,
stronger place to live.
The award is the nation’s highest civilian honor, reserved for
those who have done just that, either through contributions made
to the country’s national interests, to world peace, or through significant cultural endeavors. In reality, Lynn qualifies on all fronts.
She took her place onstage among luminaries such as
former president Bill Clinton, jazz musician and composer
Arturo Sandoval, women’s rights activist Gloria Steinem,
tastemaker Oprah Winfrey, former Chicago Cubs great Ernie
Banks, and the late astronaut Sally Ride, among others. Sixteen civilians were so honored, and all have their own unique
story, but few can rival the one lived by Butcher Holler’s own.
“That’s quite a deal, wasn’t it?” Lynn said recently, from
her home near Nashville, referring to the award. “I couldn’t
have dreamed something like that — I could have never
dreamed I could have [even] been a singer, you know.”
Strange words, you might think, from the woman who was
named the CMA’s Female Vocalist of the Year in 1967, 1972, and
1973, and who, in 1972, became the first woman to win the
CMA’s Entertainer of the Year. Additionally, she and Conway
Twitty were the CMA’s Vocal Duo of the Year in an amazing run
continued on page 17
A shoestring and sheer
will brought her to
Nashville. That, and
the heart of a song.
continued on page 16
January–March 2014 15
continued from page 15
from 1972 through 1975. Lynn, a Nashville Musicians Association life member
who joined the local in 1962, was elected
to the Country Music Hall of Fame in
1988, and received a Recording Academy
Lifetime Achievement Award in 2010.
But her words are not so strange
when you consider the journey.
Though the life of this Kentucky
girl — this “Coal Miner’s Daughter” —
is well-chronicled through her best-selling autobiography, hit song and album,
and the acclaimed film, all of the same
name, it remains a story that, frankly,
might never have been told, the odds
were so great against it. It is the quintessential story of the American dream,
and dreams were not necessarily the currency of the working poor in the mountains of Eastern Kentucky. She was born
Loretta Webb, one of eight children, in a
simple cabin in those hills, after all.
“I never dreamed of ever singing
[for a living],” Lynn said. “I’d sing at
home, rocking these babies, rocking my
brothers and sisters to sleep. I would
sing and sing, and one day Daddy came
out onto the porch and said ‘Lorrie will
you hush that big mouth? People all
over this holler can hear you!’
“I said ‘Daddy – who cares? They’re
all my cousins.’” Laughter all around.
Her humor, along with an honest,
unassuming manner, is a Loretta
Lynn trademark, of course. But, so
is a toughness, grit and determination that
is beyond compare, one that springs from
a life lived openly and unadorned — and
on the edge. It is Appalachian. It is country. It is Nashville. And, it is a life that literally bridges this town’s Golden Age to
present day. In 2003, Lynn received the
distinguished Kennedy Center Honors for
her lifetime contributions to the arts, and
her 2004 release on Interscope, Van Lear
Rose, produced by Jack White, was named
the Americana Music Association’s Album
of the Year, and earned her the association’s Artist of the Year, as well. Today, the
timeless Lynn is still working hard, performing, recording some new material
(including a new religious album soon to
be released), and writing. She has also revisited her legacy. For the past four years,
she has been rerecording her hits with
John Carter Cash producing.
“I’ve got 90-something things cut,”
Lynn said. “I’ve got all the No. 1’s cut
and the Top Fives. I’ve cut all them over,
and then I’ve added some new stuff.
“I have heard something different
in there when I hear them again. I like
to get that old banjo sound and that fiddle sound – that folk sound as you call
it. But, it’s nothing but country.”
As a young girl, Lynn had played
around with writing songs, but had no
outlet, and her life was cut to fit the
pattern of those around her. Life in the
mines drove the region, and to get married and have children was a way of survival, for women and their families.
“I never had relatives that played
[music],” Lynn recalled. “We sang in Sunday school. We went to Sunday school in
a little one-room schoolhouse, you know.
It wasn’t no big deal. I married so young. I
never was thinking past that [being a wife
and mother], and by never thinking past
that, that I would be anything else.”
But, after her marriage to Doolittle
“Mooney” Lynn in 1948, she received
encouragement, albeit intertwined
with life’s hard knocks.
“I tried to write songs when I was
13 or 14 years old,” Lynn said. “I would
put verses together, you know, and try to
write songs. I never got serious about it
until Doo figured out I could sing. That’s
how I started writing.”
To improve his prospects, Mooney
moved with his young wife to the
Pacific Northwest, settling into
Custer, Wash., just south of the Canadian border, for millwork. There, Lynn
worked hard to manage her struggling
household, and had four children by
the time she was 21.
“And Doo come in and catch me
rocking the babies to sleep. So he thought
I could sing,” she said, laughing. “I lived
out there [a long time] before I ever started singing. Doo got me, for one of my
birthdays, one of these little old 19-dollar
guitars. Well, you couldn’t keep it in tune
and it started bowing up, you know, and
I learned to play on that thing.
“That’s how it started and we went to
a dance one Saturday night and it was really different for me because I never got
to really go anywhere, you know. There
was a four-piece band there and he told
them that ‘next to Kitty Wells, she’s the
best.’ They let me sing and, of course, he
pushed me out on the stage and the band
was trying to keep from having to work
behind me. It was a very embarrassing
situation for me. So I tried to sing ‘Tennessee Waltz.’ I got about four or five lines out
and I couldn’t remember the song!”
What had proven embarrassing for
Lynn was actually the birth of one of
country music’s most celebrated careers.
Soon, she was performing with local
bands and formed one of her own. She
caught the attention of Zero Records in
Vancouver, Canada, and the label sent
her to Los Angeles to record four songs.
“Doo thinks I can do it, so I’m going to show him I can,” Lynn said. And,
with the opportunity, she began to test
herself as a songwriter. “That was the
way I felt, and I started writing my own
songs. When I was on Zero, the little label that recorded me on the west coast,
I wrote the whole album.”
She and Mooney took those records and mailed many of them out before hitting the road to Nashville with a
load of them in their car.
“Well I wrote my first [hit], “I’m a
‘Honky Tonk Girl’” on Zero Records,”
she said. “Zero didn’t know how to get
them out to the people, and I didn’t
know either. I took about 400 or 500
of them in my trunk, and we was going
around to the radio stations and that
was all we had. The record. The disc
jockeys really played the devil out of it.”
Through those efforts, “I’m A
Honky Tonk Girl” hit No. 14 on the
country charts. The scenario represents
a foreign landscape to labels and artists
today, with corporate walls surrounding radio, and with star-building machinery often pumping close to a million dollars into a chosen performer
before even hitting the ground.
But, it was that hit, earned with
her real sweat, that landed her
first Grand Ole Opry appearance
in 1960. A shoestring and sheer will
had brought her to Nashville. That, and
the heart of a song. Today, when Lynn
reflects on her artistry and her career,
she considers the lifeblood of a song
as the holy grail. And the woman who
penned such potent classics as “You
Ain’t Woman Enough,” “Don’t Come
Home a-Drinkin’ (With Lovin’ On Your
Mind),” “Fist City,” and of course “Coal
Miner’s Daughter,” is still drawn to the
flame today.
“If you’re good enough and you
can write a hit song, and somebody
hears it — I think the song is over half
the deal,” Lynn said. “You’ve got to
have a song. I’ve been working so doggone much I’ve laid off the writing, but
I miss it. I’d rather write than sing.
“So, I really think the writing is
more important than the singer. That’s
where it’s at. How you feel and how you
come across with a song. And I think if
you write it, you feel it. When you sing
it you feel like you’ve lived it. I think
this is where it’s at.”
Shortly after arriving in Nashville,
Lynn met the Wilburn Brothers, Teddy and Doyle; they made her a part of
their touring show, and she became a
regular on their television series. Doyle
Wilburn secured her release from Zero,
and convinced the legendary Owen
Bradley and Decca Records to sign the
raw and burgeoning star. Under Bradley’s guidance, in the fabled Quonset
Hut, the two began to craft her true
stardom. Owen’s brother Harold, a
Country Music Hall of Fame member
himself, played a Danelectro six-string
electric bass as part of Nashville’s legendary A-Team on all of her hits. He
remembers Lynn’s arrival on the scene
very clearly.
“I met her at the first session she
recorded for Decca,” Bradley said
recently, from his home. He served as
president of AFM Local 257 here for 18
years, and as the AFM’s international vice
president for 10 years. “I remember that
I was impressed very strongly with how
honest and how sincere she was. So after
the session I went into the control room,
and I told Owen ‘I don’t know what it is
about that woman but whatever it is that’s
in her heart comes out of her mouth.’
“And Owen said ‘That’s why I signed
her, because I thought she was sincere.’
“She is absolutely guileless, everything was so straight ahead with her.
No deception. She is what she is. She’s a
wonderful person.”
continued on page 18
Medal of Freedom Ceremony
So, I really think the
writing is more important
than the singer. That’s
where it’s at. How you feel
and how you come across
with a song. And I think if
you write it, you feel it.
January–March 2014 17
continued from page 17
Lynn placed herself in Owen Bradley’s hands, and within a couple of years
had found some success on the charts, but
it wasn’t until 1966 with the No. 2 hit “You
Ain’t Woman Enough,” and in 1967 with
the No.1 “Don’t Come Home a-Drinkin’
(With Lovin’ On Your Mind), that her career soared. Also, she had her twins during
this time, and somehow managed to raise
the six children with Mooney, even as she
found herself as an artist.
“I thought he [Owen] was the
greatest producer that ever lived,” she
said. “He would bring me into the control room and tell me that I needed to
sing certain lines the way he thought
best. Owen Bradley was like my father.
I admired him so much.
“I trusted Owen. I didn’t even
think about it. Who could I turn my career over to that was better?”
According to Harold, his brother
had great faith in Loretta, and a great
love for her artistry.
“I kind of realized after that first
session that she had something,” he
said. “And when she started having
hits you realized the artist was there.
She just got more confident as we went
along because Owen was like that, and
he really loved his artists and she really
admired him because he always told
her the truth — and sometime truth
hurts. He did that with all the artists.
He would always tell the artist what
was happening, the truth about a song
or what needed to happen, you know.
“My brother, I never heard him tell
anyone how to sing. He was willing to let
the artist perform and take whatever it
was that they were bringing to the table.
What Loretta brought was a real, sincere,
honest sound. Delivering the song. Very
believable. Really, it’s what a song is. It’s
storytelling. She really had a great way of
making you listen and she wrote some really great songs … she had 10 or 12 verses
to ‘Coal Miners Daughter’ and it broke her
heart to take any of them out. It was her
life. She just puts her heart and soul into
every song — it’s just all out, you know.”
What followed was a career that included 16 No. 1 hits, and 51 Top Ten hits,
the stuff of legend. Over a course that
has touched six different decades, Loretta
Lynn has forced us to look at ourselves in
a way that only true artists can. And, her
influence on performers who followed
cannot be overstated. Her long shot life
meant hope for thousands of dreamers.
Larry Cordle, best known for the
hit songs “Murder On Music Row”
(CMA 2001 Song of the Year) and “Highway 40 Blues” (a No. 1 hit for Ricky
Skaggs), grew up in Eastern Kentucky,
25 miles from Loretta Lynn’s home, and
just a mile down the road from Skaggs.
Lynn recorded the song “Country In My
Genes,” which Cordle wrote with Betty Key and Larry Shell, released on her
2000 album Still Country. Cordle shakes
his head when he considers her career.
“People like Loretta … had a big
impact on me because even though they
were a generation before me, I knew how
they were raised,” Cordle said recently.
“If you go to Appalachia, it don’t change
like here does. I knew Loretta was raised
harder than me, she had it far worse than
me, and she got there somehow.
“I’m not sure you could do what
she did now. By sheer grit and determination. They weren’t going to take ‘no’
for an answer. Now, you know, you
kind of walk in there with a bankroll.”
Cordle, of course, is lamenting the
present day that has little room on the
big stage for those who would follow in
Loretta’s footsteps.
“Loretta is such an original,” he
said. “She’s a legend, man. I don’t think
you can do what she did. I don’t know
one soul. She came out of a generation
where it was ‘Hey man, it’s just about the
music, and that’s what it was all about.’”
Lynn knew somehow that if the life
she led, and the lives of those around
her, was expressed honestly in song, it
would resonate with country music fans.
The courage to express herself came naturally, and she didn’t waiver once she set
her course. She either literally was — or
could become so through her writing —
the characters in her songs.
“I never did doubt myself,” she
said. “I never doubted myself. I just
jumped into writing. I think that’s it.
I didn’t look at it that way [needing confidence]. I just did it. When I wrote “I’m a
Honky Tonk Girl,” I’d never been out of
the house you know. I had four kids by the
time I was 21, so naturally I was tied down
at home. So when I wrote “Honky Tonk
Girl,” I talked to a girl I was picking strawberries with. I’d take all the kids out to the
strawberry fields and I’d pick strawberries.
She was telling me that her husband had
left her, and she had nine kids. She had
turned into a pretty loose woman, and I
didn’t know what a honky tonk girl was
hardly, so I had to figure it out myself.
“That was the hardest thing for
me to do then, was to figure out what a
honky tonk girl was, and to be that girl
until I got through with that song.”
This, then, is the heart of the matter.
Loretta Lynn has always been able to become who we all are. Good, bad, or ugly.
And, through those songs, has made us
confront ourselves, and our private lives.
Rich or poor doesn’t matter. And, country
or not, you have a life behind closed doors.
“Well you have to live that song
while you’re writing it,” Lynn said.
“You’ve got to set your mind, and be
that person until you get through that
song. That’s the way I did it. And even
the songs I didn’t have my name on, I
worked them where it was gonna sound
like me. That’s what you have to do.
“I do it today. When I get ready to
write, I lock myself into a room. I don’t
want nobody bothering me. I don’t want
nobody knocking on the door. I want to
be left alone until I get through. It’s life,
it’s everyday living. That’s all it is. That’s
what country music is all about.”
And, it’s about one woman knocking down doors herself, and beating the odds. It’s about becoming
someone important enough to
American music that she would
receive the nation’s highest civilian
honor. It’s about Loretta Lynn. TNM
Felix Cavaliere
Rascals 2012 at Capitol theater Photo courtesy Joe Russo
the leader of The Rascals, originally known as The
Young Rascals, Felix Cavaliere is responsible for
some of the most memorable music in pop history. His soulful vocals and keyboards were the
driving force behind timeless hits like “Lonely Too
Long” “Beautiful Morning,” and “Groovin,’” that are still played on the radio
today. Cavaliere guided the Rascal’s evolution into the FM radio and album
era with groundbreaking albums like See and Peaceful World/Island of Real
that stretched the boundaries of pop, rock, soul, and jazz. In 2013, The Rascals reunited for the first time in decades with a hit Broadway show Once
Upon A Dream. and subsequent tour. A longtime Nashville resident, Cavaliere
continues to write and record, and tours with a band that includes Local
257 members Mike Severs on guitar, drummer/vocalist Vinnie Santoro and
bassist Mark Prentice, who also served as MD for The Rascals reunion show.
Dave Pomeroy and Craig Krampf talked to Cavaliere for the Nashville Musician recently, just after the conclusion of The Rascals reunion tour.
(L-R) Eddie Brigati, Gene Cornish, Dino Danelli, and Felix Cavaliere
continued on page 20
January–March 2014 19
January–March 2014 19
continued from page 19
“For me, it’s been
an amazing life. I’m
doing what I always
“I can remember hearing piano players
Rascals 1968 receiving gold record
with Felix's father
Photo courtesy Joe Russo
NM: Did you grow up in a musical family?
FC: There were no musicians in my
immediate family, they were mostly
medical people, and my mom was a
pharmacist. She recognized something
in me and enrolled me in a serious music school when I was five. It was three
days a week for eight years, and I really
got trained. Everything I did, I was being corrected by somebody! One of the
reasons it didn’t sit that well with me
was that I couldn’t create, I could only
play what was written on the page.
NM: What happened to change your direction?
FC: In 7th grade, when someone asked
me, “Do you like rock & roll?” I didn’t
even know what he was talking about!
I only knew standards and classical music, and at a school like that, they kind of
kept you away from other kinds of music. It was an epiphany! I can remember
hearing piano players like Ray Charles,
Fats Domino and Jerry Lee Lewis for
the first time, and thinking “What is
that!” I had never heard anything like
it. I had an uncle who showed me this
progression on the piano that we would
call boogie-woogie and I discovered I
could play any melody with this boogie-woogie background. After a while
some high school guys heard me and
asked me to join their show band. They
had horns, charts and fake books, and
after a while they started featuring me
in the middle of the show doing a rock
& roll segment, which we ended up becoming best known for! It was pretty
cool, and I’m still in touch with some
of those guys.
like Ray Charles, Fats Domino and Jerry Lee
wanted to do, and
Lewis for the first time, and thinking ‘What
I’m the happiest guy
is that!’ I had never heard anything like it.”
in the world. I just
want to keep making
NM: When did you discover the Hammond organ and bass pedals?
FC: A friend took me to an R&B club called
the Three Fourths to see a band called The
Mighty Cravers. The organ player was
kicking bass pedals and singing, with a
sax player and a drummer. Man, it was the
coolest thing I’d ever heard in my life, and
I went on a quest to find a Hammond organ. The only place you could get one was
Macy’s, so I schlepped to New York City,
and they had a whole room dedicated to
Hammond organs. The salesman was Mr.
Silverstein. He knew I couldn’t afford an
organ, or even the pedals, but he let me
go in and play. He really inspired me instead of kicking me out, and I’ll never forget that. It was like a shrine, the benches
and the big brown Leslie box that I didn’t
even know how to turn on. Every couple
of weeks I would go in and play and check
them out. Years later, he came to see me
play with the Rascals. That was cool.
NM: What happened next?
FC: My mom had passed, and the heat
was off for me to be a classical musician. I was at Syracuse University
and I put together a house band that
played all summer in the Catskills, doing a lot of different kinds of music,
and we had a ball. I really got the bug.
Then I went to Europe with Joey Dee
and the Starliters, and we worked with
the Beatles. They opened up for us in
some places and headlined in others,
and I remember thinking, “this isn’t
that hard, I can do that!” So when I
got home I put together the band that
became the Young Rascals. I had met
Eddie Brigati through his brother Da-
vid who was with Joey Dee, and Gene
Cornish was trying to make it down in
New York City, and my ex-wife introduced me to Dino Danelli, and I said
“Hey let’s give it a shot!”
NM: What was the musicial concept behind The Rascals?
FC: I had a simple idea for a sound, starting with having a great drummer rocking the place to smithereens, with great
vocals and great music. At that time there
wasn’t a bass player around who seemed
to fit, so I started using the bass pedals.
We got a house band gig at The Barge
in the Hamptons, and people started to
come hear us, like Phil Spector and all
these folks from different record labels.
We got a deal with Atlantic within six
months of starting the band, and convinced them to let us produce ourselves.
NM: Wow, that’s incredible, especially
for a new band at that time in the music business.
FC: We just said, “If you like how we
sound, let us do it ourselves.” To this
day, we still have autonomy with whatever happens with our product. We had
the most amazing team to work with in
the studio – Tom Dowd and Arif Mardin.
Good luck or whatever you want to call
it, from the first day, it was like I passed
away and went to heaven. I knew Tom
Dowd from all the Atlantic records he had
engineered. Arif was a find and a half. He
knew everything about every genre of
music you can think of. You could throw
anything at him, and he knew it already
and he had an enthusiasm you just can’t
buy. We covered obscure R&B songs that
music. This isn’t
work, this is joy!”
Felix 2013 at organ
Photo by Joe Russo
no one had heard of. Arif and I would
work on the arrangements together. It
took a long time for Atlantic to realize
how special he was.
NM: What role did the AFM play in
your career?
FC: It was important to me from the beginning to be a union member. In New
York City, you’re not working if you’re
not in the union. It ain’t gonna happen.
You want to work in a club, you join the
union. Period. Walking through the halls
of the Local 802, you would run into
people who were your musical heroes all
the time. Not just players, real musical giants who you respected. I figured if it was
good enough for them, it was sure good
enough for me. It’s like this — if you want
to cross the bridge you gotta pay the toll!
NM: Eventually you started using additional musicians on the records, what
was behind that move?
FC: The sound of the records began to
change, and Gene had actually played bass
on some of the early stuff. Atlantic gave us
unlimited studio time, and suggested that
some of the guys from the label in the King
Curtis band would like to do some session work with us. So here’s Chuck Rainey
coming in to play bass. He was amazing,
not only was he a gentleman from head
to toe, he played stuff we could never do
with bass pedals. We brought in a few so-
loists like Hubert Laws and King Curtis to
play on some songs and they were incredible, too — true genuises. I was honored to
have them on our records and it exposed
them to a new audience. Atlantic was like a
family, not a corporate entity.
NM: How did the increased social
awareness of the late ‘60s inform your
musical direction in songs like “People
Got To Be Free”?
FC: It was a time of changing consciousness and civil rights, and we were
able to make a difference. Because we
were having crossover hits on black
and white stations, we could do what
we wanted to some degree. We were in
a position to insist that if you wanted
to book The Rascals, you had to book
a black opening act. Music is still the
universal language and always will be.
We can still play these songs anywhere
and people relate to our music.
NM: What brought you to Nashville?
FC: Music and all the music people down
here. I came down here to check it out,
and I kept running into people I knew
— John Kay, and others — and they all
said this is the place, and I moved here in
1988. I wanted to be a part of the songwriting community, and not have to be
on the road forever. This is still the best
place in the United States to make music. I’ve made a couple records with Steve
Cropper, and love working with all the
great musicians down here.
NM: How did the reunion tour come
about and will the Rascals make any
new music?
FC: In 2010, Steven Van Zandt, longtime
guitarist for the E Street Band, called me
and asked the original Rascals to do a benefit show in New York. We hadn’t played
together since 1997 at the Rock and Roll
Hall of Fame induction. The benefit went
well and so Steven worked really hard to
put the whole production together with
great sound, a 50-foot screen and lights.
We took the show to Broadway, then on
the road and back to Broadway. After 70
shows, Dino was playing like he was 16
again! It was a great show, we all worked
really hard, and I was proud to be part of
it, As for new music, I would love to write
with Eddie, if he was up for it — why not?
NM: Any final thoughts?
FC: Kids today are sharp and are learning a lot about music and the music business, but there’s a big B in [business]. I
go out and speak to them, because it’s
important for young musicians to understand what they’re getting into. Not
everybody gets it. For me, it’s been an
amazing life. I’m doing what I always
wanted to do, and I’m the happiest guy
in the world. I just want to keep making
music. This isn’t work, this is joy! TNM
January–March 2014 21
The Nashville Musician Reviews
The tracks sizzle, soothe, sparkle and snap: Whether you feel
they do justice to the originals is immaterial, Garth’s remakes
occupy a compelling, separate reality of their own as brilliant
sonic sculptures.
Garth Brooks has kissed retirement
goodbye and launched the next phase
Blame It All on My Roots
– Five Decades of Influences
Pearl Records, 6 CD, 2DVD
(Wal-Mart exclusive until Jan. 15)
*Country Classics
*Classic Rock
*Blue-Eyed Soul
*Melting Pot
Not reviewed: The Ultimate Hits 2 CD/DVD
reissue and his Live at the Wynn Las Vegas solo
show package also features a gorgeous, lavishly
illustrated 64 page booklet.
Garth has returned in a gargantuan way
with this set of 44 multi-genre cover songs,
his first batch of new recordings in twelve
years and the first release to emerge from
his Allentown Studios, now equipped with a
Neve 88R analog console.
These recordings are a triumph on
several levels. In addition to the superb
versions of iconic songs – cut in an impressive
nine month span last year – this set shows the
world that Nashville’s musicians can play the
fire out of rock, soul, R&B, pop, country-rock
and folk music in addition to being globally
acknowledged for their mastery of country,
bluegrass and gospel forms.
22 THE
in his musical voyage.
Does Brooks pull it off? Yes, spectacularly,
sounding similar to the original artist but
embellishing each song with some outrageous
vocal licks. The tracks sizzle, soothe, sparkle
and snap: Whether you feel they do justice to
the originals is immaterial, Garth’s remakes
occupy a compelling, separate reality of their
own as brilliant sonic sculptures.
The tracks are also an extraordinarily
auspicious production step out for Mark
Miller, engineer-mixer on previous Garth
Brooks releases, all produced by Allen
Reynolds, who is now retired. Matthew
“Buster” Allen moves seamlessly into
Miller’s engineer-mixer chair.
I suggest that you experience the
tracks without reading the selections,
just pop them in, even better if you’ve got
a multidisc player. See how long it takes
you to identify the song so each cut is a
surprise and a revelation.
Two of the biggest surprises are Billy
Joel’s powerful anti-war epic, “Goodnight
Saigon” and Queen’s plea for “Somebody
to Love.” Miller mentioned reading that
Queen took three months to do just the
background vocals for the song. Brooks,
he, and the backing vocalists – Chris
Rodriguez, Gordon Kennedy and Wayne
Kirkpatrick accomplished this in just two
(very long) days with breathtaking results.
I won’t ruin all the surprises that
await, but here’s some teasers: The two
above are from the rock disc. The country
platter includes “White Lightnin’,” the
Blue Eyed Soul disc presents “Stand By
Me” while “Wild World” is a standout of
the Melting Pot set.
The musical magic is provided
by a varied cast with each player richly
deserving praise, led — in my view —
by Chris Leuzinger, whose six-string work
adorns each disc and who is the ONLY
guitarist on the eleven rock tracks. Tom
Bukovac and Mark Casstevens play on
two of the four discs while Steve Gibson,
Billy Panda, Bryan Sutton and Reggie
Young appear on one.
Michael Rhodes and Mike Chapman
provide the bottom throughout with Glenn
Worf in on two discs and the late Bob Babbitt
plays on the only track predating 2013.
Sam Bacco handles percussion on
all while Eddie Bayers and Milton Sledge
man the cans for three and Chad Cromwell
lays down the beat on two.
John Hobbs and Bobby Wood tickle the
ivories on all discs with John Jarvis and Blair
Masters contributing on one, as does Bayers.
Arrangers Bergen White and Dennis
Burnside also earn a share of the spotlight,
along with background vocals starring Trisha
Yearwood, Bob Bailey and Vicki Hampton.
Scoffers may find a song or two they
feel does not measure up to its source, a
subjective judgment to be sure, but an
argument with some merit considering the
magnitude of the songs Brooks presents.
But Garth wasn’t out to top the
performances of such legends as Ray
Charles, Levon Helm, Merle Haggard, Free
or Stevie Wonder, but instead to pay homage
to his most cherished influences by singing
their songs. In so doing, he has presented us
with 44 of the most beloved pieces of music
many of us grew up hearing and placed
them all in vibrant, fresh musical settings.
Where else can you hear all these
treasures? And who else in all of music
would have created a project of this scope?
It’s great to hear the Isley Brothers
“Shout,” or Creedence’s “Who’ll Stop the Rain
or the chompin’ ‘gators in Jerry Reed’s “Amos
Moses,” all forsaken in today’s shrunken radio
landscape. The luminous new versions of
enduring classics, each created by Brooks,
Miller and gifted Nashville musicians, will be
the first versions heard by thousands, perhaps
millions of young music lovers.
The recordings are not available online,
only as physical discs. The public responded
swiftly, buying a half million copies in three
weeks without the benefit of radio exposure.
Yes indeed, Garth Brooks has kissed
retirement goodbye and launched the next
phase in his musical voyage.
—John Lomax III
reviews continued on page 24
continued on page 24
January–March 2014
2014 23
The Nashville Musician Reviews
The Nashville Musician Reviews
continued from page 23
State of Grace
Keyboardist/singer/songwriter Will Barrow
stakes a claim as an artist as well as
an in-demand sideman. The album,
dedicated to and inspired by his wife
and two young sons, covers a wide
range of styles and sounds, but is tied
together by Barrow’s unpretentious,
friendly voice, thoughtful songwriting
and melodic, expressive piano playing.
The title track opens the record in
a James Taylor meets Bruce Hornsby
vibe with tasty piano and Barrow’s
laconic vocal telling a tale of living for
the moment despite life’s challenges,
a theme that surfaces throughout the
album. The boogie shuffle “Brown
Liquor” tells a tale of a barroom piano
player’s personal preferences. “Singin’
Your Song” brings an old school R&B
groove into the present tense with
atypical chord changes and sweet string
pads accenting the bittersweet vocals.
“Peace and Love” (Paz y Amor) the
albums’s most ambitious piece, has
a piano driven Cuban rhythm and a
tasty arrangement that features Kenny
Anderson on flute, trombonist Barry
Green playing multiple parts arranged
by Kevin Madill, and backup vocals and
percussion lending a global flavor.
“The Rain” and “The Flood” tell
the story of the 2010 Nashville f lood,
musically and lyrically, in an atmospheric
arrangement led by electric piano,
spotlighting Barrow’s poignant vocal
and complemented by Jerry McPherson’s
slide guitar. “Stay” brings it back to New
Orleans with funky drums by Bryan
Owings and greasy guitar by Pat Bergeson
adding to the Big Easy vibe. “Awakening,”
like “The Rain,” demonstrates Barrow’s
fluid solo piano style, and serves as a
nice setup for the final track, “Can You
Hear Me.” Drummer Pete Abbott and
bassist Michael Rhodes shine on this
track, which features sophisticated
chord changes reminiscent of Steely
Dan, combined with an earnest vocal
performance by Barrow that brings
home the overall emotional message
of the record: We are all journeying
through life together.
—Roy Montana
Gordon Mote
All Things New
New Haven Records
Gordon Mote’s credits as a sideman
read like a Who’s Who of contemporary
country and contemporary Christian
music (CCM), and include The Oak
Ridge Boys, Lionel Richie, Alan Jackson,
Kenny Rogers, Brad Paisley and Hank
Williams, Jr. All Things New is Mote’s
ninth release as a leader and his second
for Nashville-based New Haven Records.
At first listening the title track
(one of four songs co-written by Mote)
could easily pass for a contemporary
country single, opening with acoustic
guitar, piano and vocal before building
steadily to the chorus. Dan Dugmore’s
pedal steel fills complement the track
nicely; one doesn’t hear much of that
instrument on CCM records, but it really
works here. Joeie Canaday’s bass playing
keeps this track moving forward in all
the right ways.
“Ain’t It Just Like The Lord” features
a greasy New Orleans groove, with Mote
throwing down his best Dr. Longhairapproved piano licks; tough to sit still
when this one comes on. Then comes an
abrupt shift to the meditative opening of
“Meanwhile Back At The Cross,” followed
in turn by “The Main Event,” which
features some quirky banjo parts courtesy
of Bryan Sutton — at the risk of pointing
out the obvious, banjos also aren’t
especially common on contemporary
Christian albums. The lyric highlights
how frequently our human nature allows
us to overlook what really matters in both
small and great events.
“Broken Open,” another Mote
co-write, describes the process
through which adversity brings us to
an emotionally better place: “What I
thought was the ending / Was just the
beginning / Yeah, when my heart was
broken / It was broken open.” This one
also has a very modern country sound,
reflecting the influence of co-producer
Frank Rogers.
“Gordon Mote’s credits
as a sideman read like a
Who’s Who of contemporary
country and contemporary
Christian music (CCM), and
include The Oak Ridge Boys,
Lionel Richie, Alan Jackson,
Kenny Rogers, Brad Paisley
and Hank Williams, Jr.”
You want gospel? How about the
Gaither Vocal Band and Trace Adkins
on background vocals? That would
be “Down By The River,” from Al
Anderson and Mac McAnally. Brothers
and sisters, if every church in America
had piano playing like Mote’s on this
track, we’d have some serious revival.
Staying in that Southern vein, “Do
You Believe In Love” brings together
Matthew West, Darius Rucker, Scotty
McCreary, Sheryl Crow and Josh Turner
on vocals.
“When I Rise” closes the album
on a contemplative note. The band
lays out and leaves Mote supported
by strings and orchestra, yielding the
album’s most emotionally compelling
vocal performance.
—Kent Burnside
Billy Currington
We Are Tonight
Mercury Records
Billy Currington doesn’t exactly mess
with success on We Are Tonight, his fifth
Mercury recording. He does tweak it
a bit, however, while still offering up
plenty of what got him to this point in
his career.
Currington has been successfully
walking a curious artistic line for over
a decade now, alternating between
relatively straight country songs and
more R&B-influenced material; his
2005 hits “Good Directions” and
“Must Be Doin’ Something Right”
highlight this variety of song selection.
Now with his latest release he adds
some new influences to the mix.
Three of the tracks on We Are Tonight
were produced by Local 257’s Dann
Huff, including the “bro country”
single “Hey Girl,” and “Wingman,”
a comically sad tale of the best friend
who leaves with the hot girl instead of
bringing her together with the singer.
Huff also produced the anthemic “We
Are Tonight,” the album’s second single
and a surefire concert favorite.
Carson Chamberlain produced six
of the seven remaining tracks, and it’s
here that Currington’s stylistic diversity
begins to expand in the direction of
what might be labeled a suburban hippie
surfer dude — yes, as far as I know I
coined this term. Willie Nelson drops
in for a duet, “Hard To Be A Hippie,”
in which both singers lament the fact
that “It hurts more now waking up on
the floor / And it’s still free, but it ain’t
easy like before.” Nelson wryly adds
that “Now the only thing I’m tripping
on is my own two feet, trying to keep
up with the times.” Brent Mason and JT
Corenflos provide some great harmony
electric guitar parts.
“Closer Tonight” brings Currington’s
country and R&B sides together, with the
rhythm section of Paul Leim (drums) and
David Smith (bass) laying down just the
right amount of groove. This one simply
feels too good to fade out; Chamberlain
rolls tape until the band finally stops—
much too soon--at the five-minute mark.
Some listeners are bound to love
the cover of Jack Johnson’s “Banana
Pancakes.” Others, not so much.
Thankfully it’s followed by a stronger
closing track, “Hallelujah,” written
by Brad Warren, Brett Warren and
Shy Carter (and produced by Carter).
Who’d have imagined, in years past,
that one day a major label country
album would contain this couplet:
“God is great, man is not / Man made
whiskey, God made pot”? Maybe it’s
not so hard to be a hippie after all.
—Kent Burnside
“Three of the tracks on We
Are Tonight were produced
by Local 257’s Dann Huff,
including the ‘bro country’
single ‘Hey Girl,’ and
‘Wingman,’ a comically
sad tale of the best friend
who leaves with the hot
girl instead of bringing her
together with the singer. Huff
also produced the anthemic
‘We Are Tonight,’ the album’s
second single and a surefire
concert favorite.”
January–March 2014 25
Symphony Notes
Jazz & Blues Beat
By Austin Bealmear
By Laura Ross
World class guitar performances in February
Shawn Purcell at MTSU
Concert No. 2 in the 15th edition of
the Jazz Artist Series sponsored by the
School of Music at Middle Tennessee
State University is the MTSU Jazz
Alumni Concert. The date is Feb. 13 at
7:30 p.m., the location is Hinton Hall
in the Wright Music Building, and the
featured artists are guitarist Shawn
Purcell and drummer Jim White. Both
artists will perform big band music with
the MTSU Jazz Ensemble 1, and also
with a small faculty group including
bassist Jonathan Wires, saxist Don
Aliquo, and trumpeter Jamey Simmons.
Shawn Purcell is a guitarist,
bandleader, arranger, composer and
educator. Before coming to MTSU
for his master degree, he spent eight
years touring the world with the USAF
Airmen of Note, one of the best big
bands in jazz. After a year as an adjunct
faculty member, he went on to teaching
positions in other major schools and
workshops —
­­ composing for ensembles
around the country, writing magazine
columns, playing clubs, and recording
numerous CDs. Since 2011 he has
been the guitarist with the U.S. Naval
Academy Band, and his latest CD is Let’s
Dance by the Airmen of Note.
Before coming to MTSU, Jim White
played and recorded with Maynard
Ferguson. His time here included working
with major artists from country to jazz.
He is currently associate professor of jazz
studies at the University of Northern
Colorado, and leads several area bands,
including The Vanguard Combo, selected
as Best College Small Jazz Group by Downbeat
magazine in 2010 and 2011. Jim’s latest CD
is Back When It Was Fun by the group 7 on
7. For more information go to
Pat Metheny at the Ryman
Pat Metheny, a 20-time Grammy Award
winner, with his Unity Group featuring
Chris Potter (sax), Antonio Sanchez
(drums), Ben Williams (bass), and
Giulio Carmassi (voice and miscellaneous
instruments) will make their debut
appearance at Ryman Auditorium on
Feb. 16 at 8 p.m. The band will perform
music from their new recording, which
Metheny said “encompasses the entire
range of things that I have done over
the years, from Bright Size Life to Secret
Story and from my group projects to the
Orchestrion. With this incredible group
of musicians, just about anything is
possible!” Metheny has been at the top
of the jazz and guitar world since 1979,
and should need no introduction to a
readership of professional musicians.
More on the concert at
Peter Bernstein at NJW
The Nashville Jazz Workshop will
present guitarist Peter Bernstein in a
special weekend of performance and
education Feb. 21 and 22. Bernstein
records and performs extensively as a
bandleader, teaches students worldwide
in clinics and workshops, and works as
a sideman for an impressive list of jazz
greats. Bernstein is a creative improviser
with a unique voice and style, known
for his clean, warm guitar tone and his
lyrical melodic lines.
Based in New York, he maintains a
busy schedule as a leader and sideman,
performing in the New York clubs
and at concerts and festivals around
the world. After studying and playing
with guitar legend Jim Hall, Peter was
“discovered” by soul jazz great Lou
Donaldson and made several albums
with him.
Throughout the 1990s, Bernstein
was at the forefront of contemporary
jazz; he played with Joshua Redman,
Melvin Rhyne, Diana Krall, Larry
Goldings, Bill Stewart, Jimmy Cobb,
Lee Konitz, Roy Hargrove, Tom Harrell,
Joe Lovano, Jack McDuff, Lonnie
Smith, Eric Alexander, Brad Mehldau,
Christian McBride, Mike LeDonne
and many more. As an educator, he is
a frequent guest at college campuses,
jazz camps and workshops worldwide.
He is sought out as a private teacher by
Unsung heroes of the
Nashville Symphony
guitarists from all over, including many
top professionals.
Among his many albums are Live
at Small’s (2010), Monk (2009), Strangers
in Paradise (2004), Momentum with Joshua
Redmon in 2005, and Moonbird with Larry
Goldings in 1999. If memory serves, he
has been to Nashville three times; with
organist Dr. Lonnie Smith, an all-star
band called the Blue Note 7, and last year
with Sonny Rollins. You can check his
work on YouTube; for example look for
a tune called “DragonFly” with Larry
Goldings and Bill Stewart.
Peter Bernstein’s concerts in the
Jazz Cave at the NJW will consist of
a program of solo guitar and duo
performances with special guests on
Feb. 21, and a performance with the
Lori Mechem Trio Feb. 22. Also on
Saturday morning from 10 a.m. to 12
p.m., Bernstein will lead a master class
for high school students. The class will
take place at Hume Fogg High School in
downtown Nashville, is free of charge,
and open to high school students from
all over the area. The weekend events
are made possible under a grant from
South Arts in cooperation with the
National Endowment for the Arts. For
more information, visit the Nashville Jazz
Workshop website, or
call 615-242-5299.
And on the blues side, in January,
the Nashville Blues Society sent the
two winners of their local competition
— Matt Tedder, and the Jackie Wilson
Band — to Beale Street in Memphis
for the 30th Annual International
Blues Challenge. Winners should be
announced by our publication date. TNM
Behind the scenes, Principal Librarian
D. Wilson Ochoa and Librarian Jennifer
Goldberg work to assemble the music we
play each week. If you are a member of
the audience, you may see them as they
distribute or pick up folders before and
after concerts, or between works when
they replace a score on the conductor’s
music stand. A librarian’s goal is to make
the musicians’ job easier so they have no
distractions or complications once they
begin to prepare for the next concert;
and the musicians and conductor can
make effective use of the time they have
at rehearsal. It may sound easy but it
requires following specific timelines
for folder preparation, keeping an eye
on the repertoire budget, and being an
effective crisis manager.
Ochoa, a French horn player, joined
the Nashville Symphony as librarian in
2002, as the only full-time librarian
covered by the union contract. He was
only the second librarian to be covered
under the NSO collective bargaining
agreement (CBA). After graduating
from San Diego State University, Ochoa
received his Masters degree from the
University of Memphis while also
performing as third horn with the
Memphis Symphony. He played in
several professional orchestras, ending
up in the Charleston Symphony horn
section for seven years, until health
issues forced him to quit playing, midseason. For the rest of that season he
assisted in the office and helped out in
the library.
resigned, Ochoa was offered the job and
following a two-week crash course, he
became the orchestra’s librarian. Music
publishers were not yet on the Internet
to facilitate communication or to ask for
advice or assistance — he learned on the
job — but owning multiple recordings,
the study of scores of works he had
performed, plus being an accomplished
arranger helped him succeed. And since
the NSO began recording, his experience
has been a huge asset.
Goldberg, a flute player, attended Case
Western Reserve University and Skidmore
College with a major in music performance
and a minor in the classical languages. She
completed coursework for a Masters in
Arts Administration at Boston University,
while working in administration for the
Boston Philharmonic. While in college, she
worked at the music store at Tanglewood
(summer home of the Boston Symphony.)
During her fifth and final summer at
the music store, Goldberg worked in
a self-directed fellowship program at
Tanglewood Music Center.
From 1998 to 2000 she was a New
World Symphony fellow, after which
she joined the Richmond Symphony
as sole librarian. Goldberg joined the
Nashville Symphony as the Schermerhorn
Symphony Center opened in 2006. During
CBA negotiations in 2007, her position
was added to the bargaining unit; Ochoa’s
position had been upgraded to principal a
couple seasons earlier.
Both trained in small orchestras and
agree it is here where a good librarian will
“make it or break it.”
A day in the life
The NSO library contains more than 2,300
titles, most of which were written before
1923, and includes music in current use
as well as previous versions that have
been repaired or replaced. Older music,
some belonging to former conductors, is
stored in the off-site Ellis Archives. The
NSO performs an unusual amount of
contemporary repertoire, which means
50 to 60 percent of the music for classical
concerts and 60 to 70 percent of pops
material is rental only, so they must check
on music availability, instrumentation
and rental costs from publishers.
For each piece we perform, Ochoa
and Goldberg must work with the music
director or conductor to see which
publisher and/or version of a piece is
being used so the appropriate parts
can be obtained in the library, rental
or purchase. Sometimes a conductor
provides their own parts because they
are marked to that conductor’s specific
requirements. If the parts don’t match
the score, our librarians mark the parts
to match the conductor’s markings
so rehearsals will run smoothly and
everyone can start playing in the same
place. If there are cuts or changes the
conductor wishes to make, or if the
music has known inaccuracies (errata),
these too must be fixed before music is
distributed to the orchestra.
The string bowings timeline is also
spelled out in our agreement: string
principals receive the music six weeks
prior to the first rehearsal. Bowings
must be completed within three weeks
and returned to the library so they can
be transferred to the rest of the string
parts. This is a time-consuming task –
one Mahler Symphony No. 7 first violin
part, which is 43 pages, took 70 minutes
to mark! When the music is distributed,
two weeks prior to the first rehearsal, it
also includes photocopied practice parts
for the inside string players.
continued on page 28
NSO librarians
D. Wilson Ochoa
& Jennifer Goldberg
January–March 2014 27
Symphony Notes
Final Notes
continued from page 27
Librarians deal with legibility and
size of the music, and try to anticipate
problems like bad page turns before
they occur. They deal with visiting pop
artists to determine how much prep
work will be required, but in many
instances the music books travel with
the artist and only appear the day of the
first show. Ochoa and Goldberg spend
a lot of time educating artist managers
about timeline requirements; Goldberg
says they “do a lot of nagging.” The
NSO has also assisted a number of
Nashville artists assembling “symphony
show” books to take on the road; our
librarians offer guidance and advice.
Sometimes when new parts arrive
too late the two librarians have been
known to put in a bowing or two.
Ochoa said in Charleston, “I received a
computer-engraved part the day before
the first rehearsal. I did the bowings
myself and never heard any complaints;
afterward I was told they were fine.
The music was sent back to the rental
company and sometime later I read on
the MOLA list that someone was asking
for bowings and I’m pretty sure those
recommended were mine!”
Then too, there are operas and
ballets that not only require cutting and
pasting, but the transposition of parts
into another key for singers. Ballets
can be even more time-consuming
because they reorganize the music to
their liking, and take portions of music
from any source, whether in that score
or from something else.
Librarians spend time checking
with their colleagues in other orchestras
about quality of parts, instrumentation,
score reductions, and a multitude of
other issues. Our orchestra adds another
aspect to the job description because we
perform and record our concerts, which
adds another layer of royalty and licensing
issues with which to deal, especially when
Goldberg assembles the budget. There
are performance royalties, mechanical
licensing for recordings, and grant rights
— adding an element to a performance
such as displaying paintings during
performance of Pictures at an Exhibition —
all of which require specific information
reporting to publishers, especially for
rental parts requiring royalty payments for
works under copyright protection.
Thankfully, the Major Orchestra
Librarians Association (MOLA), an
International association of 240 member
orchestras formed in 1983, has been
collecting information from its member
orchestras, cataloging it, and making
it available on the MOLA website since
the late 1990s. A MOLA email listserve allows members to ask questions
about various works, which has greatly
helped the entire orchestral field. With
few colleges offering degree programs
as an orchestra librarian, MOLA is an
indispensible resource.
Auditioning a librarian
In late October Ochoa auditioned for
and was offered the position of Principal
Librarian of the Boston Symphony
Orchestra – he begins sometime in
June 2014. While he plans to take a
year’s leave of absence, we know he
will thrive in Boston, and he will be
difficult to replace. Ochoa is the first and
only librarian to audition for the NSO –
Goldberg did not because her position
was not covered by the CBA at that time
– so we have begun discussing what the
audition process will involve.
Librarian auditions include examining
resumes and conducting phone interviews
until all but the most qualified are
eliminated. That handful of candidates will
be invited to Nashville. In Boston, Ochoa
was one of 10 candidates; in Nashville, he
was one of three. Candidates may come
all at once or more likely, one at a time.
They will likely be tested on musical terms,
music history and mistakes in orchestra
parts, be asked to demonstrate transposing
skills, to fix a bad page turn, insert extra
measures in a piece, do string bowings,
and use manuscript software such as Finale
or Sibelius. Candidates will meet with an
audition committee, with management
representatives, and with the Music Director
before a final choice is made.
Discussions have begun. We are
thankful for Goldberg’s experience.
Ochoa’s skills and friendship will be
greatly missed when he departs.
“He was one of those
drummers who always
made everyone else
sound better without
making a big deal
about it. That was
his job, and while he
always took it very
seriously, he also knew
how to, as he would
say, ‘Have fun with it.’”
—Dave Pomeroy
Mention promo code AFM for 10% off Aegis Sciences Classical Series tickets!
HAYDN & STRAUSS • Feb. 28 & Mar. 1
BEN FOLDS’ PIANO CONCERTO • Mar. 13, 14 & 15
SIBELIUS & ELGAR • Mar. 27, 28 & 29
BRANFORD MARSALIS • May 15, 16 & 17
BRAHMS’ REQUIEM • May 29, 30 & 31
615.687.6400 |
Tommy Wells
Tommy Wells, 62, died Sep. 25, 2013.
Wells, a highly respected percussionist, joined the Nashville Musicians Association in 1978. Wells grew up in
Michigan, and began playing drums
at age 11. He attended the Berklee College of Music before returning to Detroit, where he performed with Dust
and First Gear, and also played sessions
at Funk Factory, MoTown, United, and
GM Recording among other studios.
In 1977 he moved to Nashville,
where he worked with Gene Cotton,
American Ace, and also R.E.M. His versatility led him to work in many different genres in Nashville, where he
played with artists as varied as bluesrocker Jimmy Hall, western swing singer Carolyn Martin, and on recordings
for Charley Price, Ricky Van Shelton,
Roy Clark, Foster & Lloyd, Porter Wagoner, Charlie Daniels and many more.
Wells had a passion for hockey,
which he played all his life. He also enjoyed cheering on his son Dylan, who
was a goalie at the University of Southern Maine.
Dave Pomeroy, President of Local
257, spoke at Wells’ memorial service.
“He was one of those drummers who
always made everyone else sound better
without making a big deal about it. That
was his job, and while he always took it
very seriously, he also knew how to, as
he would say, ‘Have fun with it.’ Tommy spent his life doing exactly what he
wanted to do: playing the drums, making music with his friends, swinging a
hockey stick and spending quality time
with Carolyn and Dylan. We can all
learn something from the way he lived
his life,” Pomeroy said.
Survivors include Wells’ wife Carolyn and his son Dylan.
Funeral services were private. A
public memorial service was held Oct.
3 at Jay’s Place Recording Studio on Music Row in Nashville.
continued on page 30
January–March 2014 29
final notes
Final Notes
continued from page 29
Every life has a story.
We showcase
each one.
Leon Ashley
Cal Smith 1932–2013
Grant Calvin Shofner, known professionally as Cal Smith, died Oct. 10,
2013, in Branson, Mo., at 81. Smith, a singer and guitarist, was a life member of the Nashville Musicians Association and joined the AFM in 1963.
Born April 7, 1932 in Gans, Okla., he grew up in the San Jose, Calif.,
area and was first a disc jockey before he joined Ernest Tubb’s Texas Troubadours as rhythm guitarist in 1962. In 1968 he began performing as a
solo act, and in 1972 recorded Bill Anderson’s “The Lord Knows I’m Drinking,” which became a No. 1 hit for Decca Records. In 1974 Smith released
“Country Bumpkin” which became the CMA Song and Single of the Year,
as well as the ACM Song of the Year.
Other successes followed with “It’s Time to Pay the Fiddler,” “She Talked A Lot About Texas,” and “I Just Came Home to Count the Memories.”
Smith’s survivors include his wife, Darlene; five children, and 15
“In 1974 Smith released ‘Country Bumpkin’ which
became the CMA Song and Single of the Year, as
well as the ACM Song of the Year.”
Local 257 life member Leon Walton, known professionally as Leon Ashley, died in Hendersonville,
Tenn., Oct. 20 at age 77. The singer-songwriter
joined the Nashville Musicians Association May 23,
1967. He was a guitarist, and is known both for
his 1967 No. 1 single “Laura (What’s He Got That I
Ain’t Got)” as well as for making history by being
the first artist with a chart-topping single that he
wrote, published and sang on his own record label.
Born May 18, 1936 in Covington, Ga., he
first performed at the age of nine on a local radio show. In 1960 he released his first single on
Goldband Records.
In 1967 Ashley founded Ashley Records, with
which he had his first No. 1 record, “Laura.” The
album reached No. 10 and more hit singles followed, including duets “Hangin’ On” and “You’ll
Never Be Lonely Again” with his wife, Margie Singleton. Over the years “Laura” was covered by several other artists, including Claude King, Frankie
Lane, Marty Robbins and Kenny Rogers.
Ashley continued to record into the ‘80s.
Survivors include his wife Margie; two sons,
Leon Walton Jr. and Tommy Walton: two stepsons,
Stephen and Sidney Singleton; 10 grandchildren
and six great-grandchildren.
Funeral services were private, and in lieu
of flowers, the family requests that donations be
made to MusiCares.
Our country music stars
have fans visiting from
all over the world.
Reserve your place with the stars
Nelson Larkin
Nelson Larkin, 70, a life member of AFM
Local 257, died Nov. 18, in Brentwood,
Tenn. Nelson was born in Huntland,
Tenn., and joined Local 257 in 1978. He
moved to Nashville in 1972, where he
began what was to be a 40-year career
in the music business. He was a producer, songwriter, publisher, independent label owner, and guitarist. Among
his many career highlights, in the ‘80s
Nelson produced several Earl Thomas
Conley albums, including Fire And Smoke,
Somewhere Between Right and Wrong, and Treadin’ Water. He also produced projects for
Toby Keith, Billy Joe Royal, Billy “Crash”
Craddock, George Jones, Lynn Anderson
and Tracy Lawrence. Larkin was the first
producer in any genre to earn four No. 1
singles from one album.
His songwriting credits include
cowrites on hits for Billy Joe Royal —
“I’ll Pin a Note on Your Pillow” — and
Toby Keith’s “Life’s A Play (The World’s a
Stage)” He also cowrote Lawrence’s Top
10 record “Somebody Paints The Wall.”
Nelson founded Sunbird Records,
(615) 823-5010
served as president of GRT Records, and
worked at Atlantic Records, helping
to build the company’s Nashville operation. He also directed Famous Music
Publishing’s Nashville division.
Nelson was a member of Johnson’s
Chapel United Methodist Church, a
board member for the EAR Foundation
and St. Jude’s Children’s Hospital. He
supported the Pancreatic Cancer Action
Network, and enjoyed golf and following the Tennessee Volunteers.
Larkin was preceded in death by
his father, Lemuel Augustus Larkin, and
his mother, Ruth Hall Larkin. Survivors
include his wife Mary; two daughters,
Tiffany Coleman and Stacey Bright;
three brothers, Billy, John, and Ronnie
Larkin; one sister, Betty Larkin Wood;
and three granddaughters.
A celebration of life was held Nov.
21 at Brentwood United Methodist
Church. In lieu of flowers, the family
asks that donations be made to Pearlpoint Cancer Support, or the Pancreatic
Cancer Action Network.
continued on page 32
Memory Gardens Funeral Home
& Cremation Center
Memory Gardens & Funeral Home
West HARpetH
Funeral Home & Crematory
Funeral Home, Memory Gardens & Cremation
RobeRtson County
Memorial Gardens
JoeLton HiLLs
Memory Gardens
Memorial Gardens
January–March 2014 31
Member Status
final notes
continued from page 29
Robert Thames
Robert Thames, 64, died Oct. 5, 2013.
Thames, a guitarist, joined the Nashville Musicians Association in 1992.
He played with many artists, including
Donna Fargo, Slim Whitman, and Terri
Gibbs. A memorial service will be held
at a later date.
Richard Jack “Turtle” Ross
Local 257 life member Richard Jack
“Turtle” Ross, 72, of Foley, Ala., died
Nov. 2, 2013. Ross was a bass player, and
joined the Nashville Musicians Association in 1972.
Ross, a studio musician during his
career in Nashville, was in later years
an active member of Gulf Shores United
Methodist Church, where he continued
to pursue his passion for music by serving
the past 13 years as a Stephen Minister.
Survivors include his wife Annette
Harris; one daughter, Michelle Lynn Ross
Roatch; and one brother, Mark Ross.
A memorial service was held at Gulf
Shores United Methodist Church Nov.
10. In lieu of flowers, the family asks
that donations be made to the American
Heart Association or to Gulf Shores United
Methodist Church in Gulf Shores, Ala. TNM
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.
Life Member
Leon Ashley
Nelson Larkin
Frances Lyell
Richard Jack Ross
Grant C Shofner
John Neil Sibert
AFM Local 257
Holiday Closings
President’s Day
Monday, Feb. 17, 2014
Good Friday
April 18, 2014
Save a Tree!
Sign up for the electronic
version of the
Nashville Musician
by sending an email to
[email protected]
Local 257 members:
Please check to see that your funeral fund beneficiary
is listed correctly, and up to date.
We can't stress the importance of this enough.
Your loved ones are counting on you.
Take a moment and ask the front desk to verify your
funeral benefit beneficiary information.
Please also check to see that we have your correct email address.
Monday, Feb. 24, 2014
George Cooper Rehearsal Hall
Doors open at 5:30 p.m.
Meeting starts at 6:00 p.m.
New members
Rebecca Rose Baumbach
2311 Selma Dr
Nashville, TN 37214
Cell (615)-584-6288
Joseph Allan Howe
1976 Neafus Rd
Morgantown, KY 42261
Cell (270) 392-1789 Hm
(270) 999-9202
Kevin Dale Collier
905 Hospital Drive
Madison, TN 37115-5011
Cell (615)-708-8916
Elliott Huff
337 White Swans Crossing
Brentwood, TN 37027
Cell (615)-818-5220
Hm (615)-373-9958
Jasen Lee Cordiero
705 Drexel St
Nashville, TN 37203
Cell (323) 661-4004 Hm
(714) 350-4440
Christopher B Deaton
205 Cheltenham Ave
Franklin, TN 37064
Cell (615) 927-1388
Timothy A Dishman
(Tim Dishman)
1236 Jacksons Hill Rd
Hermitage, TN 37076
Hm (615) 391-4882
Robert Patrick Hamrick
(Bobby Hamrick)
2600 Hillsboro Pk #135
Nashville, TN 37212
Cell (706) 817-9845
Alexander Hargreaves
(Alex Hargreaves)
3620 NW Elmwood Dr
Corvalis, OR 97330
Cell (541) 740-7910
Marcus Hill
2722 Dracut Lane
Nashville, TN 37211
Cell (615) 934-5523
Noah Joseph Hungate
911 West Main St
Murfreesboro, TN 37129
Cell (615) 828-0295
Sarah E Jarosz
900 Division St
Nashville, TN 37203
Cell (512) 940-4106
Edwin Hamilton Josey
PO Box 68153
Nashville, TN 37206
Cell (931) 787-5144
Emily A Kohavi
132 Heritage Trace Dr
Madison, TN 37115
Cell (217) 502-9478
Kevin Andrew Lennon
624 Fatherland St
Nashville, TN 37206
Cell (615) 522-9213
Manuel D Medina
(Manny Medina)
375 Monroe St
Nashville, TN 37208
Cell (323) 251-7545
David Nels Nelson
305 Tamworth Drive
Nashville, TN 37214
Hm 440-0658
Emily Rose Nelson
1802 Sweetbriar Ave
Nashville, TN 37212
Cell (208) 596-5829
Paul C Nelson
5015 Meta Dr
Nashville, TN 37211
Shane Ryan Raymer
4725 Rabbit Flat Rd
Caneyville, KY 42721
Cell (270) 287-7584 Hm
(270) 879-8955
John Richards
(John Richards Adcock)
1505 Berry St
Old Hickory, TN 37138
Hm (615) 587-3604
Jerry Roe Rorick
(Jerry Roe)
729 Braidwood Drive
Nashville, TN 37214
Cell (615) 424-5999
Erin Slaver
1055 Pine St Apt 547
Nashville, TN 37203
Cell (845) 796-8670
Nathaniel Thomas Smith
(Nathaniel Smith)
576 Bethel Road
Brandon, MS 39402
Cell (601) 405-6243
Paula Van Goes
(Paula Van Rengenmorter-Goes)
1704 Arbor Ridge Dr
Antioch, TN 37013
Cell (985) 413-1438
Nolan Mitchell Verner
7009 Lennox Village Dr E302
Nashville, TN 37211
Cell (615) 295-9918
Joshua Williams
(Josh Williams)
571 State Route 1949
Symsonia, KY 42082
Cell (615) 438-6097 Hm
(270) 049-3094
Justin Bertoldie
Thornton Douglas Cline
Adam Ollendroff
Peter Michealson Pisarczyk
Dana Robbins
Cameron Lee Roberts
J. Chad Carlson
Mark David Elting
Lee W Garner
Rodney L Hill
Michael Patrick Holland
Jamison Daniel Hunt
Jennifer Diane Hunt
Jessica Dawn Hunt
Jonathan David Hunt
Jordan Wayne Hunt
Joshua Clinton Hunt
Justin John-Michael Hunt
Carrel Todd Liles
Monty Powell
Ray Vaughn Reed, Jr
Carolyn Marie Treybig
Jett Williams
January–March 2014 33
Do not work for
The “Do Not Work For” list exists to warn our members, other musicians and the general public about
employers who, according to our records, owe
players money and/or pension, have failed to sign
the appropriate AFM signatory documents required
to make the appropriate pension contribution, or
are soliciting union members to do non-union work.
TOP OFFENDERS LIST - Alan and Cathy Umstead are
continuing to solicit non-union recording work through
this website and elsewhere. Do not work for them under
any circumstances without an AFM contract.
TNN/Jim Owens Entertainment - The “new” TNN
has been exhibiting old Nashville Network programs
recorded under the AFM/TNN Agreement, including
Music City Tonight, and other shows. We have been
negotiating for more than a year to rectify this situation, but as of Jan. 17, this material continues to be
exhibited without payment to musicians. These are employers who owe musicians large
amounts of money and have thus far refused to fulfill
their contractual obligations to Local 257 musicians.
HonkyTone Records/Debbie Randle/Elbert West
Positive Movement/Tommy Sims (multiple unpaid
contracts – 2007 CeCe Winans project/Making
Terry K. Johnson/ 1720 Entertainment (unpaid contracts/unauthorized sales - Jamie O’Neal project)
Beautiful Monkey/JAB Country/Josh Gracin
Eric Legg & Tracey Legg (multiple unpaid contracts)
Ray Vega/Casa Vega
Quarterback/G Force/Doug Anderson
Rust Records/Ken Cooper (unpaid contracts and
Revelator/Gregg Brown (multiple bounced checks/
unpaid contracts)
Accurate Strategies, Inc.
Adagio Music/Sam Ocampo
Wayd Battle/Shear Luck
Beautiful Monkey/JAB Country
Bottled Lightning/Woody Bradshaw
Bull Rush, Inc/Cowboy Troy (unpaid demo upgrade
– making payments)
Cat Creek Publishing
Chez Musical/Sanchez Harley
Compass Productions - Alan Phillips and David
Daddio Prod./Jim Pierce (making payments)
Summer Dunaway
Field Entertainment Group/Joe Field
Goldenvine Prod./Harrison Freeman
Golden Vine/Darrell Freeman
Greg Holland
Home Records/David Vowell
Hot Skillet/Lee Gibson (unpaid contract/limited
pressing signature)
Mark Hybner
Kyle Jacobs
Katana Productions/Duwayne “Dada” Mills
King Craft, Inc./Michael King
Ginger Lewis
Line Drive Music
Lyrically Correct Music Group/Jeff Vice
MCK Publishing/Rusty Tabor
MPCA Recordings/John Titta
Mark McGuinn
Marty McIntosh
Miss Ivy Records/Bekka Bramlett (unpaid
MS Entertainment/Michael Scott
Steve Nickell
One Shot Management
Anthony paul Company
Quarterback/G Force Music/Doug Anderson
RLS Records-Nashville/Ronald Stone
Region One Records
RichDor Music/Keith Brown
River County Band/SVC Entertainment (unpaid
demo conversion/pension)
Robbins Nashville
Round Robin/Jim Pierce (unpaid contract – making payments)
Shauna Lynn
Shear Luck Productions/Wayd Battle
Shy Blakeman
Singing Honey Tree
Sleepy Town/David Lowe
Sound Resources Prod./Zach Runquist
Mark Spiro
Spangle 3/Brien Fisher
Sterling Production Mgmt/Traci Sterling Bishir
Tough Records/Greg Pearce (making payments)
Adam D. Tucker
Eddie Wenrick
Audio RX
Jimmy Collins
Comsource Media/Tommy Holland
Conchita Leeflang/Chris Sevier
Ricky D. Cook
Coyote Ugly/Jeff Myers
Data Aquisition Corp./Eric Prestidge
Derrin Heroldt
FJH Enterprises
First Tribe Media
Matthew Flinchum dba Resilient
Jimmy Fohn Music
Rebecca Frederick
Goofy Footed
Tony Graham
Jeffrey Green/Cahernzcole House
Randy Hatchett
Highland Music Publishing
Honey Tree Prod.
Engelbert Humperdinck
In Light Records/Rick Lloyd
Little Red Hen Records/Arjana Olson
Pete Martinez
Maverick Management Group
Mike Ward Music (pension/demo signature)
Joseph McClelland
Tim McDonald
Joe Meyers
Missionary Music
Jason Morales (pension/demo signature)
O Street Mansion
OTB Publishing (pension/demo signature)
Tebey Ottoh
Reach Ministries
Ride N High Records
Ronnie Palmer
Barry Preston Smith
Jason Sturgeon Music
Nathan Thompson
Veritas Music/Jody Spence
Roy Webb
Michael Whalen
We do not have signatory paperwork (Limited Pressing Agreement, Sound Recording Labor Agreement
or a Special Project Short Form) from the following
employers — pension cannot be credited to the
proper musicians without a signatory agreement in
place, even though the pension has been paid. If you
can provide us with current contact info for these
people, we will make sure you get your proper pension contribution for your work.
604 Records
Chris Lindsey
Heaven Productions
Stonebridge Station Entertainment
Straight Shooter Music
Revolution Pictures
Barrow Productions
Blue Bolt Records
Breezewood Productions
Cody Johnson Music
Collin Raye Inc.
Elizabeth Eckert
FJM Productions
Haber Corporation
Hallur Joensen
Hampton Advisors
House of Fame LLC
HTV Music
Innovative Management Consulting
JA Music Marketing
Jeff Jones
Jesse Lee Jones
Karen L. Smith
Liz Rose Music LLC
Mackenzie Porter
Momentum Label Group
Mood Entertainment
Nappy Boy Touring
Plus Sign Enterprises
Potters House
Red Cliffs Press
Ryan O’Connor
Sensibility Recordings
Silver Lining Music LLC
Six Mile Artist Management
Steerpike Productions
Steve Mandile
The Sound Kollective
The Source Bible Church
Track 9 Media
Trifectone Music Group
Vanguard records
West Lake Music Ltd.
January–March 2014 35
Nashville Musicians Association
PO Box 120399
Nashville, TN 37212-0399
—Address Service Requested—
U.S. Postage
Nashville, TN
Permit No. 648
We put
the music
in Music City
Next General Membership Meeting
Monday, February 24, 2014