Musicians Jan - 01 - Nashville Musicians Association
Musicians Jan - 01 - Nashville Musicians Association
Musicians Jan - 01 - Nashville Musicians Association
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AFM Local 257 election ’08 results<br />
Pomeroy, Krampf score election upset<br />
By WALT TROTT<br />
Once the final votes were counted on<br />
Dec. 12, 2008, victory belonged to Dave<br />
Pomeroy and Craig Krampf in the <strong>Nashville</strong><br />
<strong>Association</strong> of <strong>Musicians</strong> AFM Local<br />
257 election.<br />
Bassist Dave Pomeroy became president-elect,<br />
and drummer Craig Krampf<br />
secretary-treasurer-elect, succeeding<br />
former President Harold R. Bradley and<br />
Secretary-Treasurer Billy Linneman, respectively.<br />
“I am humbled to be elected to the office<br />
of President by the members of Local<br />
257,” stated Pomeroy, following his decisive<br />
victory. “Thanks to everyone who<br />
voted and all those who volunteered to help<br />
my campaign. On behalf of all members<br />
past and present, I thank Harold Bradley<br />
for his many years of dedication and service<br />
to this Local and the AFM.<br />
“I am honored to be carrying on the historic<br />
tradition of leading Local 257, as we<br />
move into a rapidly-changing future,” continues<br />
Pomeroy. “We have one of the most<br />
dynamic, versatile and innovative music<br />
IMHOF inductees step into the spotlight<br />
Oh what a night it was in Music City<br />
USA, as legends Booker T. & The M.G.s,<br />
The Crickets, Duane Eddy, The Memphis<br />
Horns, Billy Sherrill, Al Kooper, and The<br />
Muscle Shoals Rhythm Section & Friends,<br />
were serenaded by stellar stars such as Phil<br />
Everly, Keith Richards, Lee Ann Womack,<br />
Kid Rock, Percy Sledge and George Jones.<br />
At least half the inductees being entertained<br />
were more accustomed to remaining<br />
in the background.<br />
But clearly it was their turn to sparkle<br />
in the star spotlight, as the seven highly<br />
influential acts were officially welcomed<br />
into the International <strong>Musicians</strong>’ Hall of<br />
Fame, during the organization’s second<br />
annual induction ceremony in <strong>Nashville</strong>’s<br />
Schermerhorn Symphony Center, Oct. 28.<br />
-Photo by Patricia Presley<br />
communities on earth, and I look forward<br />
to representing the best interests of all<br />
<strong>Nashville</strong> musicians, both here at home and<br />
around the world.”<br />
The 2008 election also resulted in a Local<br />
257 Executive Board that consists of<br />
Bruce Bouton, Jimmy Capps, Denis Solee,<br />
Laura Ross, Andre Reiss, Duncan Mullins<br />
and Bobby Ogdin. Otto Bash continues as<br />
Sergeant-at-Arms. (For complete list, see<br />
separate story by Mark Jordan on page 2.)<br />
The Local’s Hearing Board members<br />
are: Kathy Shepard, Mike Douchette,<br />
Michele Voan Capps, Teresa Hargrove,<br />
John Terrence, William (Tiger) Fitzhugh<br />
and Jonathan Yudkin. Selected as Trustees<br />
are Biff Watson and Ron Keller. Voted<br />
Convention Delegates are Dave Pomeroy,<br />
Bruce Bouton, Laura Ross and Craig<br />
Krampf. All offices are for a three-year<br />
term, effective <strong>Jan</strong>. 1, 2009.<br />
“I am truly honored to get the chance<br />
to serve our Union and all of my brother<br />
and sister musicians. I understand the trust<br />
and responsibility that comes with this job,<br />
(Continued on page 2)<br />
“The importance of this event is that<br />
those individual musicians, who were so<br />
exceptional with words and music never<br />
got the recognition they deserved . . . and<br />
they didn’t do it just one day,” said AFM<br />
President Thomas F. Lee, backstage.<br />
“These are the guys that we musicians who<br />
(Continued on page 14)<br />
Next General Members<br />
meeting set March 18<br />
High on the list of agenda items for the<br />
next General Membership Meeting, 6:30<br />
p.m. Wednesday, March 18, are some recommended<br />
changes to existing Local 257<br />
By-Laws.<br />
These consist of the following changes<br />
(Continued on page 30)<br />
Inductee Duane Eddy is congratulated by AFM President Tom Lee (left) and Randy Houser.<br />
Musician<br />
Volume MMIX • Number 1 • <strong>Jan</strong>uary - March 2009<br />
AFM Local 257’s newly-elected leaders: Secretary-Treasurer Craig Krampf and<br />
President Dave Pomeroy congratulate one another on their ballot victories.<br />
What’s Inside . . . . . . .<br />
Below photos by Patricia Presley<br />
See Dan Tyminski story on pages 16-17. Read of Becky Hobbs’ latest project, page 20.<br />
Visit us on line: www.afm257.org<br />
<strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong><br />
P.O. Box 120399<br />
<strong>Nashville</strong>, TN 37212-0399<br />
- Address Service Requested -<br />
Nonprofit<br />
U.S. Postage<br />
PAID<br />
Franklin, TN<br />
Permit No. 357
2 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
Executive Board and other winners announced<br />
Dave Pomeroy and Craig Krampf Local 257’s new leaders<br />
Dave Pomeroy<br />
(Continued from page 1)<br />
and I am going to jump into this new adventure<br />
with the same passion and dedication that I have<br />
for playing music,” notes the Local’s new Secretary-Treasurer<br />
Krampf, adding, “I would like<br />
to thank Mr. Bradley for his years of service as<br />
our President. Harold is a true gentleman and,<br />
of course, a legendary figure in the music industry.<br />
I also want to thank Billy Linneman for<br />
his years of service as Secretary-Treasurer.<br />
“Because this election sparked so much interest<br />
and involvement from the membership, I<br />
am very hopelful that all of us can keep this<br />
spirit of enthusiasm and cooperation alive. Together,<br />
we can really work for and contribute<br />
to the betterment of Local 257, the AFM and<br />
<strong>Nashville</strong>. After all, we are Music City and we<br />
must do everything we can to continue to live<br />
up to that name.”<br />
Outgoing President Harold R. Bradley<br />
stated, “It has been a great honor to have represented<br />
the finest musicians in the world for the<br />
past 18 years. Even though I leave as the President<br />
locally, I will still be representing 80,000<br />
AFM members (including 2,600 locally) as the<br />
International Vice President and Trustee to the<br />
AFM-EP Pension Fund. I wish Dave Pomeroy<br />
the best of luck as he assumes this important<br />
office.”<br />
Secretary-Treasurer Billy Linneman said, “I<br />
want to thank our members for the opportunity<br />
to have served you over the past five years as<br />
Secretary-Treasurer. It has been a great last five<br />
years that was the culmination of over 35 years<br />
of direct union involvement working for the<br />
‘Home Of The Best <strong>Musicians</strong> In The World.’<br />
Fortunately, as an International Board Member,<br />
I will still represent you along with the other<br />
80,000 members of our great American Fed-<br />
New Trustee Watson is sworn in<br />
Biff Watson is sworn in as a Local 257 Trustee by President Dave Pomeroy.<br />
Photos (2) courtesy of Craig Krampf<br />
Guitar legend offers his congratulations<br />
Lifetime Member Reggie Young, accompanied by wife Jenny, stops by the union office to congratulate the<br />
Local’s newly-elected officers: Dave Pomeroy, president, and Craig Krampf, secretary-treasurer.<br />
eration Of <strong>Musicians</strong> in these uncertain times.”<br />
Serving on the 2008 Election Committee<br />
were Steven A. Sheehan, chairman; William<br />
Ellis, secretary; with Mark Jordan, Chris<br />
McDonald, John Rees and Vinnie Ciesielski.<br />
According to Sheehan, 1,165 votes were cast,<br />
more than twice the number counted in the previous<br />
election of 2005, in which the incumbent<br />
officers were unopposed.<br />
Newly-elected President Pomeroy and Secretary-Treasurer<br />
Krampf were sworn in on <strong>Jan</strong>.<br />
2, 2009, beginning a three-year term. For more<br />
information, visit www.afm257.org<br />
Record vote sweeps<br />
in new 257 officers<br />
By MARK T. JORDAN<br />
Election Committee Member<br />
In an election of historic proportions, a<br />
record 46 per cent of Local 257 members recently<br />
cast their votes for a full-slate of officers,<br />
including President, Secretary-Treasurer,<br />
Executive and Hearing Board Members, Delegates,<br />
Trustees and Sergeant-At-Arms.<br />
The election concluded 4 p.m. Thursday,<br />
Dec. 11, and after 18 hours of deliberation by<br />
the Election Committee over two days, the results<br />
were confirmed at 9:30 p.m. Friday, Dec.<br />
12.<br />
In what was widely viewed as an upset,<br />
Dave Pomeroy ousted longtime-President<br />
Harold Bradley for the top spot, and Craig<br />
Krampf narrowly defeated Billy Linneman for<br />
Secretary-Treasurer. The margin of victory was<br />
226 votes (Pomeroy’s 675-to-449 for Bradley)<br />
and Krampf survived a recount requested by<br />
Linneman, to post a 31-vote win (570-to-539).<br />
Results of the other contests were, as follows:<br />
The gathering started at 9:15 a.m., <strong>Jan</strong>. 5.<br />
Present were President Dave Pomeroy, Secretary-Treasurer<br />
Craig Krampf and recentlyelected<br />
board members Bruce Bouton, Duncan<br />
Mullins, Bobby Ogdin, Andy Reis, Laura Ross<br />
and Denis Solee. Excused: Jimmy Capps.<br />
President Pomeroy welcomed everyone and<br />
proceeded to briefly relate the events of the fire<br />
at his house on <strong>Jan</strong>. 3rd that took the life of<br />
Duke, his beloved dog. Dave thanked everyone<br />
for their love and support.<br />
Then President Pomeroy explained the items<br />
on the new administration’s agenda. Dave said<br />
that by the end of <strong>Jan</strong>uary, he would like to have<br />
in place:<br />
1) The Union’s offering for health care plans;<br />
2) Plans for a realistic scale for internet recording<br />
sessions and steps towards developing<br />
workable methods for conducting that business;<br />
3) The introduction of “Think Tank Thursdays”…<br />
An open forum for musicians to discuss<br />
current and foreseeable future issues.<br />
Other agenda items included the establishing<br />
of two separate task forces to look into more<br />
opportunities for film work in <strong>Nashville</strong>; and<br />
pension plans for road and live musicians. Dave<br />
also stressed that our union needs to and will<br />
become involved with the community at various<br />
levels. Dave also expressed the desire to<br />
work hard at expanding our membership to<br />
Executive Board (seven members and three<br />
alternates, determined by number of votes):<br />
Bruce Bouton, Jimmy Capps, Denis Solee,<br />
Laura Ross, Andy Reiss, Duncan Mullins and<br />
Bobby Ogdin. Alternates will be Tom Wild, Tim<br />
Smith and Terry Duncan;<br />
Hearing Board (seven members): Kathy<br />
Shepard, Mike Douchette, Michele Voan Capps,<br />
Teresa Hargrove, John Terrence, William (Tiger)<br />
Fitzhugh and Jonathan Yudkin;<br />
Delegates (four members): Dave Pomeroy,<br />
Bruce Bouton, Laura Ross and Craig Krampf.<br />
Bobby Ogdin was voted first alternate.<br />
Trustees (two members): Biff Watson and<br />
Ron Keller. Sergeant At Arms: Otto Bash. All<br />
electees will serve a term of three years.<br />
Out of a total membership of 2,620, 1,205<br />
ballots were returned, with 40 ballots disqualified,<br />
primarily for not affixing the required signature<br />
to the outer enevelope. With 1,165 votes<br />
counted, however, this figure represents the<br />
most vigorous turnout in years, and all Local<br />
257 members who voted are to be congratulated<br />
on their participation and concern for our<br />
Local’s future.<br />
We also take this opportunity to commend<br />
both Harold Bradley and Billy Linneman for<br />
their many years of service and devotion to the<br />
Union’s business. Both men will, of course,<br />
continue in their current positions on the International<br />
Executive Board (IEB). To Dave<br />
Pomeroy, Craig Krampf and all the other<br />
electees we offer our congratulations for an<br />
open, hard-fought and spirited campaign. We<br />
look forward to working with all of you.<br />
I would also like to thank the members of<br />
the Election Committee for their compassion,<br />
camaraderie and hard work during the election.<br />
Ably led by Steven Sheehan as Chairman, the<br />
Committee included William Ellis as Secretary,<br />
and members Vinnie Ciesielski, Chris<br />
McDonald and John Rees, as well as this<br />
humble correspondent. All are commended for<br />
taking on their responsibility with sagacity,<br />
stamina and perseverance, especially at 4 a.m.<br />
Friday, when most had sessions booked at 10.<br />
Swearing-in of the Local 257 Executive Board<br />
3,000 by the year’s end.<br />
Secretary-Treasurer Krampf addressed the<br />
board and said that he was very grateful for the<br />
opportunity to serve the members of AFM Local<br />
#257. He explained that he had a lot to learn<br />
about his new position and pledged to learn all<br />
he could about his job and then work with a<br />
total 100% effort.<br />
Craig went on to echo Dave’s thoughts and<br />
then gave some of his thoughts about the new<br />
agenda, especially focusing on the items concerning<br />
community involvement and muchneeded<br />
efforts to meet and work with other local<br />
unions and government officials. Craig also<br />
stressed that the union needed to embrace musicians<br />
of all genres of music, such as the rock,<br />
pop, singe-songwriter, rap, jazz, symphonic<br />
(players) and through various means and outreach<br />
programs.<br />
President Pomeroy then conducted the<br />
swearing-in ceremony of the Board members.<br />
The oath was administered by the President and<br />
taken by the Board as a group. Photos of the<br />
ceremony were taken for the archives and possible<br />
inclusion in the Local’s newspaper (see<br />
those on this page). The gathering and ceremony<br />
concluded at 10:05 a.m.<br />
Note: Jimmy Capps came to the office later<br />
that afternoon and took his oath of office that<br />
was administered by President Pomeroy.<br />
Trio of veteran artists selected as the Hall of Fame’s Class of 2009<br />
Charlie McCoy, Barbara Mandrell and Roy<br />
Clark are the newest members of the Country<br />
Music Hall of Fame, as announced Feb. 4, at<br />
the Country Music Hall of Fame & Museum.<br />
Their Medallions will be officially presented<br />
in May 2009, and acknowledged during the<br />
CMA’s awards gala, telecast in the fall.<br />
See the next issue of The <strong>Nashville</strong> Musician<br />
for particulars on each of the honorees.<br />
McCoy was named in the musician’s category.<br />
Learn about our new leaders’ careeers and their plans for Local 257, in the next issue of The <strong>Nashville</strong> Musician!
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 3<br />
Greetings and Happy New Year to all of you!<br />
It has certainly been quite an adventure so far.<br />
First, let me say that being elected your President<br />
is an honor, and I am humbled to be carrying<br />
on a tradition of Local 257 leadership that<br />
goes back over 100 years. I'm excited to be here<br />
and I am ready to serve ALL of you to the best<br />
of my ability. With your help, we can bring this<br />
Local to a new level of responsiveness and innovation<br />
and your participation will be the "X<br />
factor" that can make or break our efforts. Consider<br />
this your personal invite to contribute to<br />
our collective future. Come by and see us anytime,<br />
we are always glad to get to know you<br />
better.<br />
Since being sworn in as on <strong>Jan</strong>. 2, 2009, a<br />
lot has happened, mostly great stuff with one<br />
notable exception. On <strong>Jan</strong>. 3, my house caught<br />
on fire, killing my beloved dog Duke, and destroying<br />
a lot of my "stuff." Thankfully, some<br />
of my most invaluable instruments and studio<br />
gear survived, though much is damaged to various<br />
degrees. I would like to sincerely thank all<br />
of you who have called, stopped by or e-mailed<br />
to express your condolences. I do feel very<br />
blessed to have so many wonderful friends, and<br />
I appreciate all of you who kept me in your<br />
thoughts and prayers. This experience has<br />
taught me a lot and shown me that we are a<br />
community in the best sense of the word.<br />
Meanwhile, things are buzzing here at the Local.<br />
We have cleaned up and painted the President<br />
and Secretary-Treasurers' offices and are<br />
working on getting the building in top shape.<br />
We have had very productive meetings with the<br />
staff and there is good energy flowing throughout<br />
the office as we all get to know one another.<br />
Every day is a learning experience on<br />
many levels and we are wrapping up loose ends<br />
and moving forward with our plans for the future.<br />
The rehearsal hall obviously has a long<br />
way to go to be as functional as we would like,<br />
but Craig and I are determined to make that<br />
happen, and turn it into the studio it was meant<br />
to be. We have already talked to some companies<br />
about donating gear, and we have three days<br />
in March set aside for the whole staff to help<br />
sort out the huge pile of stuff that has accumulated<br />
over the years.<br />
Our first "Thursday Night Think Tank" was<br />
very successful in opening up the doors of communication<br />
among members on a variety of pertinent<br />
topics, including our Single Song Overdub<br />
Scale. This type of single player home studio<br />
work has been growing steadily for years<br />
and with no scale to fit it. We should have it up<br />
and running or be very close by the time you<br />
read this. It will be great for us to capture this<br />
work, and even better to help you build up contributions<br />
to your AFM Pension, and protect<br />
your work after its release. The first Thursday<br />
of every month will be "Think Tank Thursday"<br />
at 7 p.m. unless circumstances dictate otherwise.<br />
It is also open to non-members, and our hope is<br />
that they will want to join, so bring a friend if<br />
you like. I have set a goal of getting our mem-<br />
Support SSupport u p p o r t oour our u r<br />
Advertisers!<br />
AAdvertisers! d v e r t i s e r s !<br />
President’s<br />
Report<br />
By Dave Pomeroy<br />
bership up to 3,000 members by the end of the<br />
year. We can achieve this with your help. We<br />
will be holding a membership drive later in the<br />
year, and have already begun reaching out to<br />
local schools and universities to find future<br />
members.<br />
In late <strong>Jan</strong>uary, I went to Los Angeles for<br />
two days to meet with the AFM's International<br />
Executive Board for a number of reasons. One<br />
meeting was a continuation of the inconclusive<br />
RMA/IEB meetings of last October, intended<br />
to determine the fate of the RMA's Player Conference<br />
status. Although I am no longer RMA<br />
<strong>Nashville</strong> President, as a member of the threeperson<br />
subcommittee created at that first meeting,<br />
I was committed to following through on<br />
this important AFM issue. Unfortunately, the<br />
long-anticipated meeting did not take place due<br />
to the IEB's refusal to allow RMA International<br />
President Phil Ayling to fill in for Mark Graham,<br />
who had to travel to Australia to be with<br />
his ailing father. I saw this as a great opportunity<br />
to directly resolve the communication problems<br />
that have plagued us for some time but,<br />
sadly, it was not to be.<br />
The next morning I spoke in front of the IEB<br />
as Local 257 President for the first time. I gave<br />
a <strong>Nashville</strong>-oriented overview of recent AFM<br />
history and current events that are causing us<br />
concern about our Union's future. I ended with<br />
a plea for peace within the AFM, as I fear that<br />
our internal conflicts are making it increasingly<br />
difficult to move forward in a unified fashion.<br />
Time will tell how things will turn out, and I<br />
hope the upcoming Film negotiations will be a<br />
triumph of AFM communication and cooperation.<br />
You can rest assured that I will do all I can<br />
to promote positive solutions to any and all<br />
AFM problems that arise in the future, while<br />
keeping <strong>Nashville</strong> musicians' issues at the forefront.<br />
Speaking of current issues, we support the<br />
Performance Rights bill now in Congress, and<br />
hope you will contact your representatives in<br />
Washington to express your views. Locally, we<br />
also need your help to save WMOT, our local<br />
jazz station, from a funding shortfall. Let your<br />
voice be heard!<br />
I would like to take a moment to express my<br />
admiration and enthusiasm for our new Secretary-Treasurer<br />
Craig Krampf. I have known<br />
Craig for 20 years, and had very high expectations<br />
about his ability to handle the job, yet he<br />
has already exceeded them with his intuitive<br />
feel for this new endeavor. He is articulate, full<br />
of great ideas and positive energy, and has a<br />
very personable touch with everyone from the<br />
office staff to potential new members. His attention<br />
to detail is most welcome and I think<br />
you will find him to be accessible and a great<br />
listener. Welcome aboard, Craig!<br />
One last thing I would like to mention ... During<br />
the election campaign it became obvious<br />
that our database of members has a LOT of<br />
wrong information. We have many bad addresses<br />
and phone numbers, not to mention the<br />
fact that we only have e-mail addresses for about<br />
1/3 of you. Perhaps in the past there was concern<br />
about giving the Local your e-mail information.<br />
If you do not want us to publish your<br />
e-mail publicly, you have my word we will not,<br />
but in this day and age, it is essential that we<br />
are able to communicate with you quickly and<br />
efficiently, and e-mail is the best way for us to<br />
do that. So, PLEASE make sure we have your<br />
correct info on file so we can help you. And<br />
while you are doing that, PLEASE update your<br />
beneficiary information. THIS IS ABSO-<br />
LUTELY ESSENTIAL. We recently lost a<br />
member who had not updated his beneficiary<br />
card since 1990, and his well-earned Funeral<br />
Benefit check went to an estranged family member<br />
rather than his wife and child. Don't let this<br />
happen to you!<br />
Once again, thanks to all of you for your trust<br />
in me as your new President. I am open to any<br />
and all ideas you have for the future of OUR<br />
Union. We work for you, so come see us and<br />
let us prove it!<br />
In Unity, Harmony and Diversity,<br />
Dave Pomeroy<br />
Walter Hartman helps Gene (Pappy) Merritts<br />
mark his 80th birthday in this shot.<br />
Marty Stuart signs accord<br />
By WALT TROTT<br />
We caught Marty Stuart on a rare Monday<br />
when he wasn’t shooting his new RFD-TV cable<br />
program, appropriately enough called The<br />
Marty Stuart Show.<br />
Does this commitment take up a lot of time?<br />
“Actually, it doesn’t. Once I get everybody’s<br />
songs down, and we kinda figure out what the<br />
band’s gonna wear and that sort of stuff, it kind<br />
of has a life of it’s own now. But I feel like I’ve<br />
spent 30 years preparing for this show, but once<br />
I got there it kind of flipped into its own<br />
groove.”<br />
Being both a member of AFM Local 257<br />
and AFTRA, how did he hope to headline a<br />
show on a cable network that hadn’t yet sat at<br />
the table to work out an agreement with the<br />
union? That could have put him, his<br />
bandmembers, as well as prospective guests, at<br />
risk of being fined and/or expelled from the<br />
union.<br />
“Well the one thing I realized was that RFD<br />
had some difficulties when they first came to<br />
town,” Stuart replies. “I think basically it was a<br />
misunderstanding and miscommunication on<br />
how people in Omaha, Nebr., do business, and<br />
about the rules of the American Federation of<br />
<strong>Musicians</strong>.<br />
“It wasn’t really any problem for me to go<br />
to Harold Bradley and say, ‘Well, listen, we<br />
(Continued on page 24)<br />
Marty Stuart supports Union.<br />
Correcting a photo caption<br />
In the last issue of The <strong>Nashville</strong> Musician<br />
newspaper, John Hughey was misidentified as<br />
Don Helms. The editor regrets the error.<br />
Volume MMIX, No. 1<br />
<strong>Jan</strong>uary-March 2009<br />
The<br />
<strong>Nashville</strong><br />
Musician<br />
Non-Profit Authorization: 490741<br />
Official Quarterly Journal of<br />
The <strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong>,<br />
American Federation of <strong>Musicians</strong> Local 257<br />
(c) 2009 The <strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong><br />
P.O. Box 120399, <strong>Nashville</strong>, TN 37212<br />
NEWSPAPER STAFF<br />
Dave Pomeroy, Publisher<br />
Craig J. Krampf, Editor-in-Chief.<br />
Walt Trott, Editor<br />
Sherri Olson, Advertising<br />
Kathy Shepard, Chief Photographer<br />
LOCAL 257<br />
Dave Pomeroy, President<br />
Craig J. Krampf, Secretary-Treasurer<br />
Otto Bash, Sergeant-at-Arms<br />
Assistant to Secretary-Treasurer<br />
& Office Manager<br />
Sherri Olson<br />
Executive Board<br />
Bruce Bouton<br />
Jimmy Capps<br />
Duncan Mullins<br />
Bobby Ogdin<br />
Andy Reiss<br />
Laura Ross<br />
Denis Solee<br />
Hearing Board<br />
Wm. (Tiger) Fitzhugh<br />
Kathy Shepard<br />
Mike Douchette<br />
Michele Voan Capps<br />
Teresa Hargrove<br />
John Terrence<br />
Jonathan Yudkin<br />
Hearing Board Clerk<br />
Anita Winstead<br />
Trustees<br />
Ron Keller<br />
Biff Watson<br />
Shop Steward<br />
Laura Ross,<br />
<strong>Nashville</strong> Symphony<br />
Live Engagement<br />
Services Division<br />
Kathy Shepard, Supervisor<br />
Laura Ross, Assistant<br />
Anita Winstead, Assistant<br />
Electronic Media<br />
Services Division<br />
Melissa Hamby Meyer, Director<br />
Teri Barnett, Assistant<br />
Shana Allen<br />
Mandy Arostegui<br />
Christie Allen<br />
MPF Coordinators<br />
Kathy Shepard<br />
Anita Winstead<br />
Business Agent<br />
Kathy Shepard<br />
Front Office<br />
Arleigh Barnett<br />
<strong>Jan</strong>et Butler<br />
www.afm257.org<br />
All material intended for publication should be directed to The<br />
<strong>Nashville</strong> Musician, P.O. Box 120399, <strong>Nashville</strong> TN 37212 (office<br />
location: 11 Music Circle North, <strong>Nashville</strong> TN 37203) Telephone<br />
[615] 244-9514; Fax [615] 259-9140. The <strong>Nashville</strong> Musician assumes<br />
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Editor.<br />
Support WMOT-FM, see page 27.
4 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
Greetings My Fellow <strong>Musicians</strong>:<br />
I must start my first column by repeating<br />
something that I said for the election result press<br />
release: I am truly honored to get the chance to<br />
serve our union and all of my brother and sister<br />
musicians. I understand the trust and responsibility<br />
that comes with this job, and I want you<br />
to know that I have jumped into this new adventure<br />
with the same passion and dedication<br />
that I have for playing music.<br />
I am writing this after 23 days in office. Each<br />
day has brought new experiences and new opportunities<br />
to learn and I love my job. One of<br />
the staff members inquired after hearing me<br />
mark each day, “How long will you continue to<br />
count?” I laughed and replied, “Well, the press<br />
and public are keeping track of the first hundred<br />
days of our new administration in Washington.”<br />
And the first 100 days are also important<br />
for us. I can report that new things have<br />
already been accomplished. Other agenda items<br />
are in the works and close to being accomplished<br />
and other things are in the planning<br />
stages. The campaign statements from Dave and<br />
me weren't just political rhetoric, but the foundation<br />
and the impetus for the changes and improvements<br />
that we feel can help all of us as<br />
musicians, members of the AFM and our Local<br />
257.<br />
The <strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong><br />
Sound Healthcare is now in place and is being<br />
offered to our members. Dave has worked hard<br />
on bringing Local 257 this great offering and<br />
so far, members who have compared The Sound<br />
Healthcare plans with those that they currently<br />
have are reporting great savings. You don't have<br />
to join any other organization to participate. You<br />
can call R.J. Stillwell at 615-256-8667 or e-mail<br />
him at musicrow@aol.com to check it out.<br />
At the first “Think Tank Thursday” members<br />
gave their thoughts and shared their experiences<br />
on subjects including the “Single Song<br />
Overdub” scale and “Internet File Based Recording.”<br />
Dave has been working on this idea<br />
for a while, and we are well on our way towards<br />
making this a reality. He is discussing this and<br />
other concepts with national AFM Recording<br />
administrators who are open to the new ideas<br />
coming from Local 257. We all should feel<br />
proud to know our Local is leading the way on<br />
this and other important issues.<br />
Our second Think Tank's main topic was<br />
pension for live and road musicians. It was well<br />
attended and it was wonderful to see the interaction<br />
and listen to the free flowing ideas and<br />
various points of view coming from our members.<br />
Attendees ranged in age from their twenties<br />
to well into their sixties. We still have to<br />
make more progress on this issue, but we are<br />
on the way. After the meeting, members socialized<br />
for another half hour or so and as I watched<br />
and interacted, I couldn't help but think that<br />
Secretary-<br />
Treasurer’s<br />
Report<br />
By Craig Krampf<br />
Members notice<br />
these gatherings of kindred spirits can really<br />
help our union foster positive energy, action and<br />
unity. We are all in this together.<br />
Plans are underway for a major redesign of<br />
our Local's website in 2009. The new site will<br />
have many features and capabilities such as<br />
downloadable PDF forms and contracts, complete<br />
live performance, TV and recording scales<br />
with appropriate pension guidelines and forms.<br />
Along with current news about negotiations and<br />
legislation, we will work towards including<br />
paperless work dues statements and classified<br />
ads for musical instruments ala Craigslist. Our<br />
new site will become a sourcebook and referral<br />
service of musical talent for people who need<br />
to hire a musician or musical ensemble for their<br />
event. We also want to offer the option of paying<br />
dues and filing paperwork online. Your<br />
thoughts and input about the site or for that<br />
matter, any idea or concern at all are welcomed<br />
and encouraged.<br />
I would like to thank the staff for making us<br />
feel welcomed and helping us in so many ways.<br />
As I said, there is much to learn and when a<br />
new situation comes up for me, I ask for help<br />
and advice. Everyone has been wonderful in<br />
taking the time to share their experience and<br />
knowledge. I would like you all to know that<br />
we have an excellent team that works very hard.<br />
We have had two great staff meetings and a lot<br />
of ideas are being brought forth from everyone<br />
about how we all can make our service to you<br />
smoother, easier and faster.<br />
I also want to thank Dave. I have learned<br />
many things from him about Union affairs. He<br />
has a wealth of knowledge and experience, and<br />
observing his energy and passion for leading<br />
us into the future should be reassuring to all<br />
our members.<br />
We all know that these are unique and difficult<br />
times for the economy of the USA and the<br />
rest of the world. It's a widely accepted fact that<br />
entertainment usually does okay, and sometimes<br />
even prospers during a recession. I am not so<br />
sure about this time. I will soon be able to have<br />
some facts and figures for you comparing what<br />
has occurred in our Local during the last few<br />
years. We pledge to you complete transparency.<br />
We want you to know that your new administration<br />
will operate by principles that reflect<br />
diligent fiscal responsibility.<br />
Because this election sparked so much interest<br />
and involvement from the membership, I<br />
am very hopeful that all of us can keep this spirit<br />
of enthusiasm and cooperation alive. Together,<br />
we can really work for and contribute to the<br />
betterment of Local 257, the AFM and <strong>Nashville</strong>.<br />
After all, we are “Music City” and we must<br />
do everything we can to continue to live up to<br />
that name.<br />
Yours in Unity, Harmony and Diversity…<br />
Craig Krampf<br />
Please note that the Legislative Action Fund (formerly<br />
TEMPO), will go towards lobbying on behalf of musicians,<br />
for their rights and benefits. Please contribute generously to<br />
this fund, if able.<br />
Executive Board meet; minutes for 1-16-09<br />
Attending: Dave Pomeroy, Bruce Bouton,<br />
Jimmy Capps, Duncan Mullins, Bobby Ogdin,<br />
Andre Reiss, Laura Ross, Denis Solee. Absent:<br />
Craig Krampf.<br />
9:21 a.m. - President Pomeroy called the<br />
meeting to order.<br />
Documents from Secretary-Treasurer<br />
Krampf, who was unavailable, due to a rescheduled<br />
dental appointment, were reviewed and<br />
discussed by the Executive Board. Pomeroy<br />
mentioned payment of dues and per capita dues<br />
to the Federation, the recent Federation audit<br />
of the Local in December and asked that the<br />
treasurer's report be deferred until the next meeting<br />
when Secretary-Treasurer Krampf could be<br />
in attendance. Krampf has been working with<br />
Ron Stewart (CPA for the Local) and Sherri<br />
Olson (office manager) on the Local's financial<br />
information and has recommended upgrading<br />
the version of Quickbooks currently in use.<br />
MSC that overtime for December be approved.<br />
MSC that each full-time staff member<br />
will receive a paid day off on their birthday;<br />
part-time staff members shall be at the discretion<br />
of the President and Secretary-Treasurer.<br />
(Laura Ross abstained from the vote)<br />
President Pomeroy spoke about a variety of<br />
topics including a recent and productive staff<br />
meeting, how he and the Secretary-Treasurer<br />
have fixed up their offices (they are refusing<br />
reimbursement), the expiration of the General<br />
Jackson contract, old business they are dealing<br />
with, and future work on the rehearsal hall.<br />
Denis Solee said there was a committee recommendation<br />
for improvements years ago (he<br />
served on that committee); Bobby Ogdin suggested<br />
swapping skills for dues payments.<br />
Matt Davich contacted President Pomeroy<br />
about the “Wizard of Oz” production at TPAC,<br />
asking that his ticket be reimbursed so he could<br />
investigate whether it was a non-union production.<br />
MSC that Matt Davich be reimbursed up to<br />
$100 for his attendance, once he reported his<br />
findings to the President.<br />
This led to a brief discussion of business<br />
agents.<br />
President Pomeroy distributed copies of<br />
website development information. No action<br />
was taken.<br />
President Pomeroy reported on a meeting<br />
with Hal Ponder (AFM Legislative Director)<br />
and Patricia Polach (AFM Associate General<br />
Counsel), who were in town for meetings.<br />
Pomeroy and Krampf had a good meeting and<br />
discussed Local 257's participation in the AFM's<br />
legislative activities.<br />
The President announced that the CMA<br />
health plan, which was previously offered to<br />
RMA members, will be available as early as<br />
next week (also in <strong>Jan</strong>uary) to all members in<br />
good standing of Local 257 - no additional<br />
memberships will be required.<br />
There was brief discussion about WMOT<br />
Office staffer Mandy Arostegui welcome her hubby<br />
J.R. Arostegui to the AFM Local 257 union office.<br />
(Murfreesboro) which may lose their funding.<br />
We should focus attention on this situation since<br />
they are the only Jazz station available in the<br />
area.<br />
President Pomeroy reported on the first<br />
Thursday evening meeting that was attended by<br />
approximately 15-20 members. The major topic<br />
discussed was an Internet Overdub Scale they<br />
hope, once completely vetted, will be a stand<br />
alone agreement in the AFM.<br />
There was a discussion regarding the exclusion<br />
of engineers on time cards for tracking<br />
sessions. Pros and cons were discussed; suggested<br />
actions were to appoint a committee to<br />
further investigate and discuss, and that President<br />
Pomeroy also get further information from<br />
Dick Gabriel (AFM EMSD director), <strong>Jan</strong><br />
Jennings (Local 257 counsel) and Anne<br />
Mayerson (AFM Associate General Counsel).<br />
Bruce Bouton left the meeting at 10:34 a.m.<br />
There was discussion about updating The<br />
<strong>Nashville</strong> Musician, the possible hiring of an<br />
additional employee for one or two days a week,<br />
and the return of “Always, Patsy” to the Ryman.<br />
MSC to approve the new members.<br />
There was a brief discussion of the new pension<br />
form that allows for multiple beneficiaries,<br />
and that you may not designate your estate as<br />
your beneficiary prior to collecting benefits.<br />
Duncan Mullins left the meeting at 11:04<br />
a.m.<br />
Further topics discussed were which days<br />
were best for membership (Wednesdays) and<br />
board (Friday mornings) meetings, that the<br />
board attempt to meet at least once a month and<br />
to invite any alternates or trustees interested in<br />
attending, and comments on a recent state proposal<br />
to impose a “privilege tax” on entertainers<br />
and athletes who make over $50,000.<br />
11:17 a.m. - Meeting adjourned.<br />
- Submitted by Laura Ross<br />
Carrigan new ‘<strong>Nashville</strong> Cat’<br />
Jerry Carrigan, noted session drummer in<br />
Muscle Shoals and Music City, has been named<br />
the next veteran player to be saluted in the <strong>Nashville</strong><br />
Cats ongoing Country Music Hall of Fame<br />
& Museum series.<br />
Carrigan will be present for an interview<br />
covering his career, augmented by photos, recordings<br />
and film footage, at 1:30 p.m. Saturday,<br />
Feb. 21, in the museum’s Ford Theater.<br />
He has enhanced a variety of recordings of<br />
such diverse artists as Jerry Reed on “When<br />
You’re Hot, You’re Hot,” Tony Joe White’s<br />
“Polk Salad Annie,” Arthur Alexander’s “She<br />
Done Me Wrong” and Charlie Rich’s “Most<br />
Beautiful Girl in the World.”<br />
A signing will follow in the Museum’s gift<br />
shop. For further details, call (615) 416-20<strong>01</strong>.<br />
Fiddler Eddie Stubbs accepts 25-year membership<br />
anniversary pin, from bassist Billy Linneman.
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 5<br />
Brothers and Sisters, I hope that you all had<br />
happy safe holidays, and that the new year is<br />
being good to you.<br />
It seems that lately I have been getting more<br />
calls for referrals than I used to get………..<br />
It's funny, even though I am referring our members<br />
for jobs…………..I STILL RARELY GET<br />
A CONTRACT TURNED IN. Please, please,<br />
please, please DO BETTER!!! Please remember,<br />
it is written in our Local 257 Bylaws:<br />
Article III, Section 33: All contracts for<br />
single or seasonal engagements, both verbal<br />
and written, must be filed by the Leader-Contractor<br />
or individual working alone with the<br />
office of the Secretary/-Treasurer prior to the<br />
engagement. Failure to comply with the Section<br />
might subject the offending member to a<br />
fine that shall not exceed one hundred dollars<br />
($100.00).<br />
We have always accepted contract information<br />
also……..over the phone………..and by<br />
e-mail, etc. also. And please consider using the<br />
LS1 contract. This is such an easy way to get<br />
pension contributions.<br />
Okay, so speaking of referrals, a lot of the<br />
calls that I get are for musicians who play kind<br />
of unusual instruments (for instance, awhile<br />
back I got a call from someone who was needing<br />
a “didgeridoo” player…actually I found<br />
one.) So please let us know if you play an instrument<br />
(unusual or not) that is not listed for<br />
you. We get our information from the application<br />
that you filled out when you joined this<br />
local. If you would like to add an instrument<br />
under your name and information, (the info that<br />
we have in the computer, and also that is printed<br />
in our directory) e-mail Kathy@afm257.org<br />
As I'm sure all of you are aware, our election<br />
was held in December. I am proud to once<br />
again be on our Local 257 Hearing Board. I<br />
want to thank the other members who agreed<br />
to run for this board, and I look forward to serving<br />
with you.<br />
If you get a chance, stop by the office and<br />
say “Hey” and congratulations to our new President<br />
Dave Pomeroy, and our new Secretary-<br />
Treasurer Craig Krampft. Their doors are always<br />
open (and the coffee is always on).<br />
So, speaking of changes, it was hard to say<br />
good-bye to my dear friends, Harold Bradley<br />
and Billy Linneman. I have known them both<br />
for many years…. I wish them wonderful things<br />
in their future endeavors.<br />
I guess by now, it is known by everyone that<br />
Dave Pomeroy's house burnt recently, and his<br />
Ed Russell gets 25-year pin from Harold Bradley.<br />
Live<br />
Engagement<br />
Services<br />
By Kathy Shepard<br />
beloved canine companion “Duke” was lost in<br />
the fire. I first met “Duke” (actually his name<br />
at that time was “Luke”), at Petsmart in <strong>Nashville</strong><br />
West. I am a volunteer for the Dickson<br />
County Humane Society, and a few of us were<br />
there with foster dogs for an Adoptathon.<br />
“Luke” was one of our fosters, we were trying<br />
to find him his “forever home.” I absolutely<br />
knew from the time I laid eyes on him that he<br />
needed to be with Dave. It was truly a perfect<br />
match of “man and his dog.” So “Luke” was<br />
adopted, and changed his name to “Duke<br />
Pomeroy.” This was such a wonderful happy<br />
ending, the shelter was so proud to have found<br />
such a perfect match. It was mentioned in our<br />
last issue that I have recently finished a CD to<br />
raise money for animal shelters. It is called<br />
“Furry Angels.” I have also set up a “Furry Angels<br />
Fund.” Of the CDs sold, the donation will<br />
go to a shelter in that area.<br />
Anyway…. my co-producer, Zov, and I have<br />
decided that the portion of money from CDs<br />
sold here (from this office) to be donated, will<br />
go to Dickson County Humane Society (where<br />
“Duke” came from) in his memory. If you<br />
would like to contribute to “For the Love of<br />
Duke,” please come and see me, and buy a CD.<br />
I will be taking a picture of “Duke” and Dave<br />
to the shelter in Dickson, and I hope they will<br />
hang it proudly on their “Memory Wall.”<br />
To end this column…. from my heart…. my<br />
own life has been turned upside down for the<br />
past eight months or so. I have been caregiver<br />
for my ex-husband Danny, who had been battling<br />
lung and bone cancer. He lost his battle in<br />
December. I am executrix of his estate. I have<br />
help from his friends, going through “stuff,”<br />
keeping many things, throwing away a few<br />
things, selling some things…. finding homes<br />
for his precious pets, being so upset because I<br />
couldn't keep them all with me and my ever<br />
growing brood of furry children. I have kept<br />
“Little Girl,” because she is grieving the hardest.<br />
(“Little Girl” went with me to the funeral<br />
home in Greenbrier, Tenn., and also the memorial<br />
service in Indiana.) Nobody really knows<br />
what a caregiver goes through….. unless you've<br />
been there. My office mates have been wonderful<br />
to me, I don't know what I would have<br />
done without my assistant Anita. I have been<br />
quite sleep-deprived on many occasions . . . and<br />
full of sad. To those of you who have been supportive<br />
and patient with me during this time, I<br />
thank you.<br />
Kathy Shepard<br />
‘Homer’ with Larry Paxton at the Union office.<br />
‘Wonder Woman’ Lynda Carter, now a recording artist, visits with Local 257 staffer Christie Allen.<br />
Catie visits grandmom Anita Winstead at the office.<br />
Christie and Shana Allen before Cinderella’s Ball.<br />
Marlin Rowan plays the dulcimer<br />
in this Melissa Hamby Meyer picture.<br />
Photos by Kathy Shepard<br />
Trick or Treat? Office staffers at Local 257 take a much-needed break on Halloween day.<br />
Need to update your address?
6 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
I know that as soon as the end of the month<br />
is upon us, Walt will be tracking me down for<br />
my article, so I’m going to get a jump on it by<br />
beginning now instead of procrastinating! First<br />
let me thank everyone for showing their confidence<br />
by re-electing me to the Executive Board<br />
and as an AFM Convention delegate. I look<br />
forward to introducing Dave and Craig to the<br />
other officers in the Southern Conference this<br />
summer. I’d also like to publicly thank Harold<br />
Bradley for his tireless work on our behalf for<br />
the past 18 years – he’s been one of our staunchest<br />
supporters. I’d also like to thank Billy<br />
Linneman for his hard work as Secretary-Treasurer<br />
and before that as an Executive Board<br />
member – his ideas and insights have been a<br />
great boon to this Local. I feel lucky that I can<br />
continue to work with Harold and Billy as representatives<br />
on the AFM International Executive<br />
Board.<br />
As for the comings and goings of the <strong>Nashville</strong><br />
Symphony, well we returned from a twoweek<br />
holiday vacation and jumped right back<br />
in, feet first! Before we took our break, the orchestra<br />
was divided and performing in two different<br />
venues - half the orchestra (plus multiple<br />
extras; in fact between the two orchestras we<br />
hired 33 extras those two weeks) was performing<br />
The Nutcracker at TPAC in a brand new<br />
production - costumes, sets and choreography!<br />
(I'd like to formally extend our thanks to the<br />
<strong>Nashville</strong> Ballet for allowing the musicians to<br />
attend a dress rehearsal to see the new ballet<br />
before we entered the pit. The view's not very<br />
good down there, and the new production was<br />
beautiful and had a number of very amusing<br />
moments.) The other half of the orchestra performed<br />
a holiday pops concert with the Canadian<br />
Brass, a Pied Piper concert and multiple<br />
performances of Handel's Messiah with baroque<br />
performance practice expert Nicholas<br />
McGeegan. Mr. McGeegan was a delight and<br />
the orchestra really enjoyed our time with him.<br />
When I speak of jumping back in feet first I<br />
meant that quite literally - the first full week of<br />
<strong>Jan</strong>uary included Mahler's Sixth Symphony and<br />
Haydn's Symphony #59, which was performed<br />
in the traditional seating with second violins on<br />
the right side of the stage, violas were seated<br />
next to the 1st violins and cellos were seated in<br />
what is usually the viola position. Getting to<br />
that final performance was quite a feat, as we<br />
battled football traffic (they were just letting<br />
out) and hockey traffic (they were coming in).<br />
I don't really understand the madness behind<br />
Metro's grand traffic scheme when they deliberately<br />
shut down streets and bridges (and keep<br />
them shut down even during the games) that<br />
Has your address changed?<br />
Need to change a beneficiary?<br />
Call us - (615) 244-9514.<br />
Symphony<br />
Notes<br />
By Laura Ross<br />
<strong>Nashville</strong> Symphony<br />
Shop Steward<br />
are necessary to get to work because not everyone<br />
downtown is trying to leave! [OK, enough<br />
of my rant for now…]<br />
As I begin to write this we are preparing for<br />
our annual Martin Luther King concert - “Let<br />
Freedom Sing!” on Sunday, <strong>Jan</strong>. 18 and a pops<br />
concert with Vince Gill the weekend of <strong>Jan</strong>. 15-<br />
17. The next few weeks offer a panoply of different<br />
concerts - Young Persons Concerts (including<br />
a runout to Columbia) of a work called<br />
The Composer is Dead, an entirely different<br />
concert that will be performed in another runout<br />
to Columbia State College, a Stained Glass concert<br />
at First Presbyterian of Handel's Judas<br />
Maccabaeus with the First Pres choir under the<br />
direction of Raphael Bundage, and a Jazz series<br />
concert with saxophonist Dave Koz.<br />
February hails the return of Leonard Slatkin,<br />
who has served as our Music Advisor for the<br />
past two seasons and begins his final season in<br />
this capacity (this is part of the reason why<br />
Giancarlo Guerrero is Music Director-designate<br />
this season.) The first half of the program includes<br />
Mathes' A Standing Ground: Concertino<br />
for Orchestra (after poems of Wendell Berry),<br />
Primiani's Sirens and McTee's Einstein's<br />
Dream; the second half features piano-great<br />
Emanuel Ax performing the Brahms Concerto<br />
No. 1 in D Minor for Piano (one of my very<br />
favorites). The next week, one of Mr. Ax's good<br />
friends, Itzhak Perlman joins the orchestra over<br />
Valentine's Day weekend as he conducts and<br />
performs works by Beethoven (Romances #1<br />
& 2 for Violin and Orchestra), Brahms Variations<br />
on a Theme by Haydn and Tchaikovsky<br />
Symphony #4. The following week (after my<br />
one day in-and-out trip to Chicago for our annual<br />
ICSOM governing board mid-winter meeting<br />
where we plan the summer conference), we<br />
present a Pied Piper concert and Riders in The<br />
Sky will join us for a pops concert that will also<br />
be taped to become a Symphonic Live Recording.<br />
I'm looking forward to working with these<br />
guys since I've been handling their pension pay-<br />
ments for a couple of years (BTW guys, the<br />
agreement comes up for renewal on July 1!)<br />
Slatkin returns at the end of the month (for those<br />
of you who are not aware, he is the new Music<br />
Director of the Detroit Symphony) to lead the<br />
orchestra in a revamped program that features<br />
Rachmaninoff Symphony #1, Mozart Symphony<br />
#40 and Lukas Foss' Time Cycle for Soprano<br />
and Orchestra featuring Hila Plitmann. The<br />
original schedule had included Del Tredici's Final<br />
Alice which we were also to record for<br />
Naxos. Due to these contentious financial times,<br />
the decision was made to delay this recording<br />
project for the time being.<br />
In March, Doc Severinsen and a few of his<br />
colleagues join Giancarlo for our fifth pops concert<br />
and then the orchestra will have a well deserved<br />
week off (I'll already be in India at that<br />
point…) Upon our return (me too, the day before<br />
rehearsals begin), assistant conductor Kelly<br />
Corcoran leads the Classical 10 Series that includes<br />
Debussy Images, Stephen Beus performing<br />
Liszt Concerto No. 1 in E-flat Major for<br />
Piano and Orchestra, and Dukas Sorcerer's Apprentice.<br />
The <strong>Nashville</strong> Symphony Chorus will<br />
perform their annual Spring Choral Concert<br />
(with orchestra assistance) and clarinetist Dave<br />
Bennett will pay tribute to Benny Goodman in<br />
our sixth pops concert. The final week of March<br />
and the beginning of April will include what is<br />
becoming an annual event - The Hymn Sing,<br />
and the NSO will host 10 rising young conductors<br />
for the League of American Orchestras (formerly<br />
the American Symphony Orchestra<br />
League or ASOL) National Conductor Preview.<br />
In the last few weeks we've had some happy<br />
occurrences, assistant principal percussionist<br />
Rich Graber was awarded tenure in the orchestra<br />
and Hunter Sholar, our fourth horn, who<br />
subbed with the orchestra all of last season, has<br />
been notified that he will be awarded tenure at<br />
the end of this season. Congrats to you both!<br />
Also, violist Michelle Lackey Collins delivered<br />
a daughter Olivia in early <strong>Jan</strong>uary. I've already<br />
Real Renaissance man, Robert Ridley, 85, succumbs at Williamson Medical Center<br />
Musician-artist Robert Ridley, a former<br />
<strong>Nashville</strong> Symphony Orchestra member, died<br />
several days before his 86th birthday at the<br />
Williamson Medical Center in Franklin, Nov.<br />
16.<br />
As a Lifetime Member of the AFM <strong>Nashville</strong><br />
<strong>Association</strong> of <strong>Musicians</strong>’ Local 257, he<br />
played both bass and tuba.<br />
A <strong>Nashville</strong> native, Robert Daniel Ridley<br />
was born Nov. 27, 1922, the son of Margaret<br />
May (Bell) and William Vernon Ridley.<br />
He graduated from Cohn High School in<br />
1940. Ridley served with distinction in World<br />
War II as a GI with the Army’s 13th Armored<br />
Division, notably during one of the bloodiest<br />
offenses launched by the Nazis - the Battle of<br />
the Bulge - in the European Theater of Operations.<br />
Subsequently, Robert Ridley earned two<br />
masters degrees, one in music education from<br />
Peabody College in <strong>Nashville</strong>; the other in the<br />
art of ceramics from the New York State College<br />
of Ceramics. An accomplished musician,<br />
Ridley was also known for his sculpture and<br />
his pottery designs.<br />
In addition to the arts, he also served as band<br />
director and instructor at DuPont High School.<br />
Ridley founded and owned both Coach House<br />
Pottery and Left Bank Studios, and launched<br />
the Left Bank Arts Festival.<br />
For many years, he worked for the State of<br />
Tennessee Mental Health Institute as Director<br />
of Adjunctive Therapy until his retirement. He<br />
also served as Director of Art Therapy here at<br />
Cumberland House.<br />
He’s a former member of Pennington Bend<br />
Church of Christ, the Central Church of Christ<br />
in <strong>Nashville</strong>, and a member of the Berry Chapel<br />
Church of Christ in Franklin until his death.<br />
Survivors include daughter Kristy Darlene<br />
Becton; grandson John Bradley Becton Denney;<br />
nieces Katherine Ridley Loftis and Margaret<br />
White; nephews David and Jerry Trousdale and<br />
Larry Ridley; great-niece Joy Loftis, and grandnephew<br />
Mark Loftis.<br />
A memorial service was conducted Nov. 21<br />
in Berry’s Chapel Church, followed by a<br />
graveside service at Middle Tennessee Veterans<br />
Cemetery, with full military honors, officiated<br />
by The Reverend Jerry Barber. Honorary<br />
Pallbearers: Lewis McMillan, Claude Hackett<br />
and Channing Workman. Active Pallbearers:<br />
Chris, Chad and Mark Loftis, John Beamer,<br />
Robert D. Ridley<br />
Larry Bearden, Bob Simmons, Jerry and David<br />
Trousdale. Handling arrangements was Woodbine<br />
Funeral Home.<br />
(A special thank you from the editor to Mark<br />
Loftis for furnishing the accompanying photograph<br />
of Mr. Ridley.)<br />
REMINDER to MEMBERS!<br />
Check the Suspended list<br />
on pages 12-13!<br />
seen photos and she's a stunner. Ellen Menking<br />
who is currently on maternity leave has also<br />
dropped by once or twice with her beautiful son,<br />
as well. Our family just continues to grow!<br />
This past week the symphony also announced<br />
their 2009-10 season which has some<br />
spectacular artists, conductors and works lined<br />
up! The programming in Giancarlo Guerrero's<br />
first official year as Music Director feature such<br />
works as Mussorgsky Pictures at an Exhibition;<br />
numerous works by Astor Piazzola (some tangos)<br />
and Ravel Bolero; Saint-Saëns Organ Symphony;<br />
Mahler Symphony #5; Mozart Symphony<br />
#35 “The Haffner” along with a world<br />
premier by Roberto Sierra which was co-commissioned<br />
by the NSO as part of The Sphinx<br />
Organization commissioning consortium;<br />
Strauss Also Sprach Zarathustra and the first<br />
of two world premieres commissioned through<br />
the Magnum Opus project, this one by Miguel<br />
Del Aguila and the second in early December<br />
by Lowell Liebermann, will be featured on a<br />
concert that includes Stravinsky Symphony of<br />
Psalms and Rachmaninoff The Bells; Barber<br />
Symphony No.1 in One Movement and<br />
Respighi's Fountains of Rome; and the regular<br />
season will conclude with Beethoven Symphony<br />
#1 and Bartok Bluebeard's Castle. That's just<br />
Giancarlo's programs!<br />
We will also be joined by John Fiore who<br />
will conduct works by Wagner, Rouse and<br />
Schumann; Carlos Kalmar will conduct<br />
Brahms, Adams and Ginastera; and three giants<br />
of the music world - one of the great baroqueperformance<br />
practitioners Helmuth Rilling will<br />
conduct J.S. Bach's B Minor Mass, Krzysztof<br />
Penderecki will conduct his own works along<br />
with Shostakovich Symphony #6, and Sir<br />
Neville Marriner who will conduct Vaughan-<br />
Williams Symphony #2 “London” and William<br />
Walton Henry V: A Shakespeare Scenario that<br />
will be narrated by none other than Christopher<br />
Plummer. Other artists heard in this upcoming<br />
season include Stephen Hough (piano), Sharon<br />
Isbin (guitar), Tianwa Yang (violin), Daniel<br />
Binelli (bandoneon), Tracy Silverman (electric<br />
violin), Ingrid Fliter (piano), Alisa Weilerstein<br />
(cello), Yefim Bronfman (piano), Barry Douglas<br />
(piano), our own Roger Wiesmeyer (English<br />
horn), Hilary Hahn (violin), and Jean-Yves<br />
Thibaudet (piano) will perform twice - once<br />
with the <strong>Nashville</strong> Symphony and the following<br />
month with the Los Angeles Philharmonic,<br />
which will be led by their dynamic new Music<br />
Director Gustavo Dudamel. We will also be<br />
joined by a number of superb singers Twyla<br />
Robinson, Bryan Griffin, Darren K. Stokes,<br />
Jennifer Larmore and Peter Fried.<br />
The pops series will feature artists Glen<br />
Campbell, Matt Catingub celebrating Hawaii's<br />
50th anniversary as a state, the Soldiers' Chorus<br />
of the U.S. Army Field Band, the Preservation<br />
Hall Jazz Band, John McDermott and Cherish<br />
the Ladies on the same concert, Frank<br />
Portone, the band Cherryholmes, and Christopher<br />
Cross.<br />
The gala concert on Sept. 11 will feature an<br />
all-Beethoven concert with one of today's piano<br />
superstars Lang Lang performing Piano<br />
Concerto #3. It looks to be a fantastic season -<br />
and I hope to see many of you there!<br />
Hall of Fame honors Hartford<br />
The Country Music Hall of Fame &<br />
Museum’s has a new spotlight exhibit honoring<br />
the late John Hartford: Ever Smiling, Ever<br />
Gentle On My Mind, which opened <strong>Jan</strong>. 24, and<br />
runs through <strong>Jan</strong>uary 2<strong>01</strong>0.<br />
The Hartford exhibit examines aspects of the<br />
Local 257 member and Grammy-winning<br />
artist’s career, notably his composition “Gentle<br />
On My Mind,” his fiddlin’ success and even<br />
his accomplishments as a steamboat pilot, author<br />
and historian, although he’s not a member<br />
of the Country Music Hall of Fame.<br />
A former regular on the national Smothers<br />
Brothers Comedy Hour TV show, John died of<br />
cancer at age 63 in 20<strong>01</strong>. His son guitarist Jamie<br />
Hartford, also a Local 257 member, carries on<br />
the family tradition, writing songs, playing sessions<br />
and fronting his own group.
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 7<br />
Circumstances Of The Case<br />
Favors Right Of Publicity Claim<br />
By <strong>Musicians</strong> And Songwriters.<br />
Collectibles is a small record label that distributes<br />
and sells music recordings, especially<br />
repackaged vintage recordings. Home Cooking<br />
Records is a music producer specializing in<br />
Texas blues. Home Cooking Records commercially<br />
licensed to Collectibles certain master<br />
recordings of various and sundry blues musicians<br />
and songwriters.<br />
The written license agreement purported to<br />
give Collectibles the right to use the names, photographs,<br />
likenesses and biographical material<br />
of all those whose performances were contained<br />
on the master recordings. It was represented to<br />
Collectibles by Home Cooking Records that the<br />
latter was entitled to convey these rights. This<br />
turned out not to be the case.<br />
Using the master recordings, Collectibles<br />
manufactured and distributed cassettes and<br />
CD's, as well as music catalogs, with the names<br />
and sometimes the likenesses of the performers<br />
on or in them. In addition, Home Cooking<br />
Records, but not Collectibles, sold posters or<br />
videotapes with the names or likenesses of these<br />
blues musicians and songwriters. The blues musicians<br />
and songwriters, upon discovering their<br />
songs and personal information being sold and<br />
distributed without their written consent, filed<br />
suit in federal court in Texas on grounds of<br />
copyright infringement and misappropriation of<br />
their names and likenesses under state law, the<br />
Jazz &<br />
Blues Beat<br />
By ROBERT<br />
AUSTIN<br />
BEALMEAR<br />
A Happy New Year to you all! Wow! Last<br />
year I opened this column by whining about<br />
the terrible condition of the world at the end of<br />
2007, and the appalling inability of humans to<br />
make it better. But that was NOTHING compared<br />
to how 2008 ended. While a new war<br />
raged in the Middle East, economies world wide<br />
were reeling from the effects of greed and negligence.<br />
The widening financial crises quickly<br />
trickled down to musicians as concert, club, and<br />
record sales fell off significantly.<br />
<strong>Jan</strong>uary usually means it's time for the International<br />
<strong>Association</strong> of Jazz Educators' annual<br />
convention, but after last year's disappointing<br />
attendance at the Toronto convention, IAJE<br />
made the shocking announcement that it was<br />
bankrupt and out of business. IAJE had become<br />
the major support institution for jazz education<br />
and leaves a huge hole in the ability of an art<br />
form to perpetuate itself. Some sort of re-organization<br />
is expected.<br />
The Mid-South Jazz Festival at Austin Peay<br />
State University returns with the John Proulx<br />
Trio on April 3 at 7:30 p.m. Guido's and F.<br />
Scott's are staying with their reduced jazz<br />
policy: Guido's has fewer nights and solos only,<br />
F. Scott's has groups only Thursday, Friday, and<br />
Saturday, solos the other nights. The Italian Grill<br />
& Café has only an occasional night of swing<br />
now, and even the number of blues jam nights<br />
is down. Thank goodness, it's not all bad news,<br />
so let's lighten our spirits with the good stuff<br />
going on around Middle Tennessee.<br />
On <strong>Jan</strong>. 30, former jazz saxist Matt Catingub<br />
guest conducted the <strong>Nashville</strong> Symphony's<br />
Adams and Reese Jazz Series, this time featuring<br />
smooth jazz saxist Dav Koz and a program<br />
of movie music at the Schermerhorn. Next concert<br />
in that series is vocalist Madeleine Peyroux<br />
and her band, March 13. Do you wonder if trum-<br />
LEGAL TIPS<br />
By<br />
Marshall M. Snyder<br />
Attorney - at - Law<br />
latter being a claim for violation of the right of<br />
publicity.<br />
A jury trial ensued in which the jury found<br />
copyright infringement by Home Cooking<br />
Records but only innocent copyright infringement<br />
by Collectibles, the latter being unaware<br />
that it had no legal right to market the copyrighted<br />
materials. The jury furthermore found<br />
both Home Cooking Records and Collectibles<br />
liable for misappropriating the names and likeness<br />
of the plaintiffs without their consent.<br />
Home Cooking Records and Collectibles argued<br />
strenuously that the misappropriation<br />
claim under state law could not be brought<br />
against them due to the fact that the misappropriation<br />
claim was preempted by the Copyright<br />
Act and, therefore, was an invalid claim.<br />
The Copyright Act provides that: On or after<br />
<strong>Jan</strong>. 1, 1978, all legal and equitable rights<br />
that are equivalent to any of the exclusive rights<br />
peter Doc Severinsen is still wearing the wild<br />
jackets Johnny used to make jokes about? You<br />
can find out March 5-7 when Doc blows into<br />
town with guitar, violin, and percussion (Luis<br />
Conte) for three nights of "Nuevo Flamenco"<br />
music with the Symphony called "The Rhythm<br />
of Life."<br />
While it's really too early to tell, the major<br />
jazz event of the year may be the appearance of<br />
the new Chick Corea & John McLaughlin Five<br />
Peace Band at the Schermerhorn April 6, at 7<br />
p.m. This is probably a one-time only pairing<br />
of two pioneers of "fusion" jazz, fronting an<br />
all-star group of Kenny Garrett, alto sax, Christian<br />
McBride, bass, and Vinnie Colaiuta, drums<br />
The <strong>Nashville</strong> Jazz Orchestra's next scheduled<br />
concert is Feb. 26 at Blair's Ingram Center,<br />
featuring vocalist Mandy Barnett<br />
(<strong>Nashville</strong>'s Patsy Cline-reincarnation) at 8 p.m.<br />
The NJO's annual Writer's Night concert will<br />
be April 23, also at Blair. More info at<br />
www.nashvillejazzorchestra.org<br />
Across from Vanderbilt, Crescent City restaurant<br />
has a new owner and new name, "Music<br />
Row." We're told they feature gourmet food<br />
at budget prices, and live music including jazz<br />
and blues.<br />
Middle Tennessee State University in<br />
Murfreesboro continued its Jazz Artist Series<br />
Feb. 12 with renowned Knoxville pianist (and<br />
former Jazz Messenger) Donald Brown. Their<br />
spring Jazz Festival is usually an all-day event,<br />
this year on April 4, featuring one of the great<br />
young lions of trumpet, Terrell Stafford, at 7:30<br />
p.m. Both performances are in the Wright Music<br />
Building on the MTSU campus.<br />
At Belmont University, world-class jazz pianist<br />
Bruce Dudley presents a program called<br />
"American Piano Jazz of the Past Century" on<br />
Monday, Feb. 23 at 7:30 p.m. in Massey Concert<br />
Hall. The Belmont Jazz Festival showcases<br />
student groups at Massey four nights. On March<br />
17 – Jazz Band; March 18 – Jazz Band II and<br />
Jazz Small Group; March 19 – String and Bass<br />
Ensembles; March 21 – Jazzmin (the vocal<br />
group led by Sandra Dudley). All at 7:30 p.m.<br />
For the <strong>Nashville</strong> Jazz Workshop in February<br />
and March, check their website for artists<br />
in their "Snap on 2 & 4" series, and "Jazz On<br />
the Move" series at Frist Center,<br />
www.nashvillejazz.org I also hear their Sunday<br />
jam sessions are back, instrumentals every<br />
first Sunday, vocal jams every third.<br />
On the blues scene, the long-running Tuesday<br />
night jams continue at Cragnacker’s Bar<br />
and Grill in Old Hickory. The house band plays<br />
within the general scope of copyright as specified<br />
by section 106 in works of authorship that<br />
are fixed in a tangible medium of expression<br />
and come within the subject matter of copyright<br />
as specified by sections 102 and 103,<br />
whether created before or after that date and<br />
whether published or unpublished, are governed<br />
exclusively by this title . . . 17 U.S.C. § 3<strong>01</strong>(a).<br />
Section 3<strong>01</strong> requires the fulfillment of two conditions.<br />
First, the content of the protected right<br />
must fall in the subject matter of copyright.<br />
Second, the nature of the rights granted under<br />
state law must be equivalent to any of the exclusive<br />
rights in the general scope of a federal<br />
copyright.<br />
As noted by the court, the Texas tort of misappropriation<br />
provides protection from the unauthorized<br />
appropriation of one's name, image<br />
or likeness. It is best understood as a species of<br />
the right of publicity or of privacy.<br />
To prevail, a plaintiff must prove that (1)<br />
the defendant misappropriated the plaintiff's<br />
name or likeness for the value associated with<br />
it and not in an incidental manner or for a newsworthy<br />
purpose; (2) the plaintiff can be identified<br />
from the publication; and (3) the defendant<br />
derived some advantage or benefit.<br />
Home Cooking Records and Collectibles argued<br />
strenuously that plaintiffs did not present<br />
an independent action for misappropriation. Because<br />
plaintiffs names and/or likenesses were<br />
used to identify their musical works in Collectibles'<br />
CD's, tapes and catalogs, Home Cook-<br />
7-8, jam goes until 11. For a list of clubs that<br />
regularly have blues and the dates of their<br />
monthly Blue Friday meetings, go to the Music<br />
City Blues Society website at<br />
www.musiccityblues.org, or for a weekly update,<br />
call MCBS Blues Hotline, (615) 292-5222.<br />
Vocalist Les Kerr and his Bayou Band will<br />
present their 18th Consecutive Mardi Gras Concert<br />
at <strong>Nashville</strong>’s Bluebird Café on Fat Tuesday,<br />
Feb. 24. Les will also be featured for this<br />
year's "Oyster Easter" fundraiser April 11 at<br />
Traveler's Rest. This event is the main<br />
fundraiser for the Community Resource Center,<br />
a non-profit that serves the needy with<br />
household goods, furniture and appliances.<br />
Event includes a silent auction, New Orleansstyle<br />
food (lots of oysters), and a King and<br />
Queen.<br />
Not much new on the radio scene. At WMOT<br />
Jazz89 (89.5FM) gwe got a hip and humorous<br />
take on romance with the JAZZ On The Side<br />
Valentine's Day special, "Is You Is Or Is You<br />
Ain't My Baby," Feb. 15. Then get April Fooled<br />
on March 29 with "Dr. Rhythm's Incidental<br />
History of Jazz."<br />
Sadly, more jazz and blues legends passed<br />
on at the end of 2008. October: Ray Ellis, composer,<br />
conductor and TV producer, was arranger<br />
for jazz vocal legends like Sarah Vaughan and<br />
Billie Holiday ("Lady in Satin"). Merl Saunders'<br />
organ stylings sent artists like Jerry Garcia to<br />
the jazz and blues side of the groove. Perhaps<br />
appreciated more by musicians than fans, Dave<br />
McKenna was a virtuoso pianist who always<br />
swung and always respected the structure of a<br />
song.<br />
Many of the most famous images of jazz men<br />
and women were captured by photographer<br />
William Claxton. Check out his book "Jazz<br />
Life." He began his career as a trumpet man<br />
with Woody Herman and others, but Neal Hefti<br />
will always be remembered as an arranger-composer<br />
par excellence from big bands to TV<br />
("Batman," "The Odd Couple"). His album "The<br />
Atomic Count Basie" is one of the enduring<br />
classics of recorded jazz.<br />
Actress Edie Adams was a classic pop singer<br />
when "pop" was still basically big band jazz.<br />
Trivia question: who played the famous opening<br />
clarinet glissando in the 1945 film "Rhapsody<br />
in Blue"? Answer: reed player Al<br />
Gallodoro, whom Jimmy Dorsey called, "The<br />
best sax player who ever lived." In his eightdecade<br />
career he played with orchestra leaders<br />
from Paul Whiteman to Arturo Toscanini.<br />
In November, we lost two drummers who<br />
ing Records and Collectibles asserted that the<br />
core of the misappropriation and copyright infringement<br />
claims were one and the same hence<br />
requiring dismissal of the misappropriation<br />
claim.<br />
The court had noted, however, that Home<br />
Cooking Records and Collectibles argument ignored<br />
that the content of the right protected by<br />
the misappropriation tort does not fall into the<br />
subject matter of copyright, as section 3<strong>01</strong> requires.<br />
The tort for misappropriation of name or<br />
likeness protects the interest of the individual<br />
in the exclusive use of his own identity, in so<br />
far as it is represented by his name or likeness,<br />
and in so far as the use may be of benefit to him<br />
or to others.<br />
In other words, the tort of misappropriation<br />
of name or likeness protects a person's persona.<br />
A persona does not fall within the subject matter<br />
of copyright - it does not consist of a writing<br />
of an author within the meaning of the Copyright<br />
Act.<br />
The plaintiffs had not granted any copyright<br />
in their materials. The plaintiffs had not granted<br />
through contract any right to use their name or<br />
likeness. Therefore, and properly so, the court<br />
reasoned that the Copyright Act had not preempted<br />
the plaintiffs claim for misappropriation<br />
of their name or likeness.<br />
(Marshall M. Snyder is a Music Row attorney<br />
who can be reached at 615.742.0833 or by<br />
e-mail at marshall.snyder@nashville.com)<br />
were the last generation to use jazz style drumming<br />
to drive rock bands. England's Mitch<br />
Mitchell pioneered the idea of the virtuoso rock<br />
drummer, lighting the fires behind guitar wizard<br />
Jimi Hendrix. And Cheyenne Indian Jimmy<br />
Carl Black set the groove to Frank Zappa's farout<br />
arrangements for the original Mothers of<br />
Invention.<br />
In the jazz-oriented world of 1950s’ pop music,<br />
the most far-out voice was that of Yma<br />
Sumac, a Peruvian soprano with a range well<br />
over four octaves. Feminist, author, and record<br />
producer Rosetta Reitz specifically championed<br />
the recognition of women artists in early jazz<br />
and blues for 30 years.<br />
December: Derek Wadsworth was a British<br />
trombonist who worked with Tony Bennett and<br />
Maynard Ferguson, but was mostly known for<br />
TV and film composing. West Coast pianist<br />
Page Cavanaugh was a legend in what we'd now<br />
call "lounge jazz" with a long-lasting trio modeled<br />
after the King Cole trio. They were featured<br />
on Sinatra's radio show and in several<br />
films of the 1950s’.<br />
Robert Ward was a blues singer and guitarist<br />
who founded the pop-soul band that became<br />
"Ohio Players." Few would argue with saying<br />
that Freddie Hubbard was the best of the postbop<br />
trumpet players. His unique tone and searing<br />
inventiveness were featured on dozens of<br />
classic 1960s’ recordings with everyone from<br />
Art Blakey to Ornette Coleman. A series of<br />
popular commercial jazz albums in the ’70s led<br />
to some lesser efforts that were hated by the<br />
critics, but in the clubs he kept his blazing<br />
improv style intact until the ’90s when a lip infection<br />
seriously limited his abilities in the last<br />
two decades.<br />
Stay warm and we'll talk again in the spring.<br />
Member earns Spirit of Hope honor<br />
Singer Michael Peterson (“From Here To<br />
Eternity”) was named as the 2008 recipient of<br />
the Bob Hope Spirit of Hope Award, Dec. 3, in<br />
recognition of his entertainment of the troops<br />
in the war zones of Iraq and Afghanistan.<br />
Local 257’s Peterson proudly proclaims:<br />
“The men and women in uniform who serve<br />
our nation selflessly are inspiring to be around.<br />
For decades, Bob Hope served them with entertainment<br />
and encouragement from home.<br />
Because of Mr. Hope’s sacrifice and service,<br />
today’s entertainers have the same opportunity.<br />
I am grateful for this recognition and the privilege<br />
of being associated with his legacy.”
8 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
We've entered the busiest time of year for<br />
the front desk. Your patience and understanding<br />
are appreciated more than ever, and we<br />
thank you for minimizing calls, etc. when possible.<br />
Over 2,000 members have already paid<br />
their 2009 annual membership dues! Fewer than<br />
600 members have yet to submit payments in<br />
full.<br />
Members are required to pay the following<br />
items in their entirety to maintain active status<br />
with Local 257: Local Dues, AFM Per Capita<br />
Dues, Funeral Benefit Fee, Funeral Benefit<br />
Assessment, and Vic Willis Emergency Relief<br />
Fund. The only optional item was listed on the<br />
postcard you received separately, and is for the<br />
Legislative Action Fund (formerly TEMPO),<br />
the money going to lobbying on behalf of musicians.<br />
Please contribute generously to this<br />
fund if you're able.<br />
Although your membership cards expire<br />
each year on Dec. 31st, we do allow you to pay<br />
as late as <strong>Jan</strong>. 31st, before your membership<br />
status is suspended and a reinstatement fee is<br />
added to your account. If your membership and<br />
reinstatement fees are not paid in full by March<br />
31, your status will be expelled and an additional<br />
reinstatement fee will be charged to you.<br />
Finances are tight for most everyone, and if you<br />
find yourself in a position where you're unable<br />
to pay by the due dates, yet intend to maintain<br />
your membership, please contact Secretary-<br />
Treasurer Craig Krampf. He's happy to hear<br />
from you and work with you.<br />
If you choose to resign in good standing, it's<br />
best if you do so before March 31, at which<br />
time we will be sending in a per capita dues<br />
payment to A.F.of M. for every member on our<br />
roster. The last payment was sent for Dec. 31,<br />
’08, so thank you to all who made the decision<br />
to resign prior to <strong>Jan</strong>. 1. If you are contemplating<br />
a change, but not quite sure which way to<br />
go, please contact Secretary-Treasurer Krampf<br />
or President Pomeroy. They can listen to your<br />
concerns and advise you on your situation.<br />
Collecting your Pension is not affected by<br />
maintaining your membership in our Local. Resigning<br />
does make you ineligible for applying<br />
for assistance through our Emergency Relief<br />
Fund. You also forfeit your Funeral Benefit<br />
Fund if you resign. Your membership can be<br />
reinstated within a year, but beyond that one<br />
year you must sign up as a new member. In this<br />
Office<br />
Manager’s<br />
Notes . . .<br />
By<br />
Sherri<br />
Olson<br />
case, your start date changes to the date you<br />
come back in, and you lose the length of time<br />
you had built up as a member in good standing.<br />
Applicants for ERF must be members in good<br />
standing for the past 12 months or more. The<br />
Funeral Benefit is based on your length of time<br />
as a member as well, ranging from $1,250.00<br />
at the start of your membership, up to $8,000.00<br />
after you've maintained your good standing<br />
membership for 20 or more years. In order for<br />
your benefit to be paid out, your membership<br />
and all dues and obligations must be paid in<br />
full.<br />
Please remember us when you have a new<br />
mailing address, e-mail address, name change,<br />
or perhaps wish to change your beneficiary. As<br />
members, you each contribute to the Funeral<br />
Benefit Fund with your annual dues payments.<br />
It's comforting for you to know the money will<br />
go where you would like it to go at the time of<br />
your death. The Fund was designed to help<br />
cover the cost of your burial and funeral arrangements,<br />
but it's really in the hands of whoever<br />
you have designated. We are currently<br />
printing your named beneficiary on your billing<br />
statements. If you would like to re-assign<br />
your benefit, please stop by or request that we<br />
mail you a new Funeral Benefit Beneficiary<br />
card. Having a new card on file, signed by you,<br />
is the only way we can make these updates.<br />
My personal thanks goes out to former President<br />
Harold Bradley and former Secretary-Treasurer<br />
Billy Linneman. These two gentlemen<br />
always treated us with respect and love, and<br />
their friendship and presence are greatly missed<br />
around here. I'm thankful that my position is<br />
not subject to an election! I don't think I could<br />
deal with the uncertainty every three years.<br />
Although a new administration can bring uncertainty<br />
in and of itself, we can only continue<br />
to do our jobs to the best of our ability and hope<br />
that we are seen as a vital part of the organization,<br />
someone who contributes to the success<br />
of the purpose.<br />
In my opinion, we have a great staff! I welcome<br />
Dave Pomeroy and Craig Krampf, and<br />
pray we will feel a similar friendship that comes<br />
with time spent together. They generate a lot of<br />
enthusiasm and energy, and I encourage you to<br />
stop by and congratulate them. It's your<br />
union…and your voice should be heard.<br />
Sherri Olson<br />
Local 257 members inducted into the Arkansas Hall of Fame last fall . .<br />
Six legendary entertainers, including country<br />
music star Joe Nichols, rock drummer<br />
Ronnie Hawkins, the Opry’s brother duo The<br />
Wilburn Brothers (Doyle & Teddy), noted<br />
Memphis horn player Wayne Jackson, and the<br />
late blues legend Sonny Boy Williamson were<br />
inducted into the Arkansas Entertainers Hall of<br />
Fame Nov. 15, in Hot Springs.<br />
The late Doyle and Teddy Wilburn were born<br />
in Hardy and were child performers in an act<br />
called The Wilburn Family that were brought<br />
to the Grand Ole Opry in the 1940s. After the<br />
brothers served stints in the Army during the<br />
Korean War, Teddy and Doyle continued on in<br />
country music as The Wilburn Brothers. They<br />
had their first hit in 1954, “Sparkling Brown<br />
Eyes.” Other hits include “Which One Is To<br />
Blame,” “Trouble’s Back in Town” and “It’s<br />
Another World.”<br />
They operated a major music publishing firm<br />
Sure-Fire and with Don Helms, Wil-Helm booking<br />
agency. The Wilburn Brothers had a longrunning<br />
syndicated TV show, 1963 to 1974, and<br />
helped introduce Loretta Lynn to a wider audience.<br />
Both Wilburns were in AFM Local 257.<br />
Fellow member Jackson grew up in West<br />
Memphis and his life took him across the Mississippi<br />
River to Memphis, where he became a<br />
legendary backup trumpeter in such groups as<br />
the Mar-Keys and would go on to perform with<br />
a who's who of artists from around the world<br />
on over 300 gold and platinum records. Of<br />
course, he was a founder of the legendary Memphis<br />
backing band, The Memphis Horns.<br />
Son says Rex Peer had ‘a remarkable life’<br />
Rex Peer, one of the original musicians in<br />
Danny Davis’ <strong>Nashville</strong> Brass, died Oct. 14, in<br />
Chapel Hill, Tenn., following a lengthy fight<br />
with cancer. He was 80.<br />
The trombonist, a Lifetime member of Local<br />
257, also performed big band sounds with<br />
such notables as Benny Goodman and The<br />
Sauter-Finegan Orchestra. He had recorded with<br />
such acts as Davis, Goodman, Johnny Cash,<br />
Eddie Fisher and Tennessee Ernie Ford, and was<br />
on Pat Boone’s TV show for a year.<br />
Born in Atlantic, Iowa, Rex Eugene Peer<br />
grew up in a musical family. His father Willard<br />
Ralph Peer, a cornet player and flautist, at one<br />
time was introduced on ABC-TV’s You Asked<br />
For It program as “The world’s greatest<br />
Ocarina (sweet-potato flute) player.” Brother<br />
Herb played jazz trombone in the Joe Ventuti<br />
Orchestra. Rex’s sister Dorothy Zehr is still a<br />
music and voice teacher in Ft. Dodge, Iowa.<br />
“Dad dropped out of high school to play in<br />
territory bands,” notes son Ryan Peer. “Then<br />
he got a job with Jimmy Palmer’s band. During<br />
a hiatus with that band, he finished high<br />
school, and a couple of years he spent on the<br />
road.”<br />
Near the tail end of World War II, he served<br />
in the Army Air Corps, part of which he played<br />
in a military band at Lackland Air Base in Texas.<br />
Peer decided to get out just two weeks before<br />
they suspended all discharges (as the Korean<br />
War loomed large).<br />
“Under the GI Bill, my father went to<br />
Morningside College in Sioux City to earn his<br />
B.A. degree,” Ryan points out. “He obtained<br />
his master’s (in music education) from Columbia<br />
University in New York.”<br />
Later, he was proprietor of the Peer Music<br />
Store in Atlantic (originally founded by his father<br />
Ralph), where Rex also taught aspiring<br />
music students for $1 per lesson.<br />
Among other bandleaders he performed with<br />
were Vincent Lopez and Woody Herman. It was<br />
Goodman, however, who kept calling him back.<br />
As early as 1952, he toured the U.S. with<br />
Goodman; in 1955, he toured the Far East, a<br />
highlight being a command performance for<br />
King Aduljadet of Thailand (who jammed with<br />
them on sax); they toured Europe in ’58, headlining<br />
two weeks at the Brussels World Fair; in<br />
1959 they toured Canada and New England; and<br />
in the early 1960s, South America (including<br />
some memorable dates in Mexico).<br />
An incident during his Goodman gigs occurring<br />
on a dual All-Star Farewell Band Tour<br />
in conjunction with fellow legend Louis<br />
Armstrong, also proved memorable, much to<br />
Benny’s chagrin.<br />
According to Ryan, Benny had a bit of ego:<br />
“Theirs was a six-week tour and after a couple<br />
weeks, Benny and Louie got into an argument<br />
right there in front of their bandsmen. It started<br />
when Benny wanted more stage time; then<br />
Louie asked, ‘Who do you think I am? I’m not<br />
your ***damn flunkie!’ So Benny left and his<br />
drummer Gene Krupa took over the band for<br />
the next four weeks. After that, everything was<br />
fine and the guys remembered it as memorable.”<br />
Despite all his time with Benny and the<br />
Goodman Sextet, he confided to his son that<br />
his very favorite band to work with was Sauter-<br />
Finegan (whose co-leaders were Eddie Sauter<br />
and Bill Finegan), explaining: “It’s the only<br />
band where after three hours on stage and they<br />
were packin’ up their horns, he wanted to play<br />
more. He said that was his all-time high.”<br />
Nonetheless, Rex is heard playing on such<br />
acclaimed Benny Goodman albums as Benny’s<br />
celebrated 1956 live effort cut in Bangkok, and<br />
their set recorded in Belgium in 1958.<br />
Changes in beneficiary?<br />
Be sure to report changes in<br />
your personal status<br />
to the Union office!<br />
Call (615) 244-9514, Ext. 240.<br />
According to worksheets turned in by leader<br />
Bill Walker, after the initial tracks for Bob<br />
Dylan’s “Self Portrait” were done in ’69, some<br />
overdubbing was accomplished in <strong>Nashville</strong>,<br />
specifically the period March 11 - April 3, 1970,<br />
including trombone playing by Rex Peer, Dennis<br />
Good and Frank Smith. (Rex didn’t remember<br />
that session.)<br />
One of Rex’s best friends was multi-instrumentalist<br />
Walker, an Australian who gained further<br />
career renown as an arranger and conductor<br />
based in <strong>Nashville</strong>.<br />
“Bill was the reason my father came down<br />
here,” explains the younger Peer. “In 1966 or<br />
’67, when Dad was playing with Eddy Arnold,<br />
he took his putter from his car trunk while awaiting<br />
rehearsal, to practice his swing. Bill walked<br />
by and said, ‘We’re looking for a fourth tomorrow.<br />
Want to play?’ That was the start of a long<br />
friendship.”<br />
Walker worked with both the Johnny Cash<br />
and Statler Brothers’ TV shows here in different<br />
decades. Rex first came to town now and<br />
then to work, but finally moved his family to<br />
<strong>Nashville</strong> in 1969.<br />
“He was pretty much first-call for anyone<br />
wanting a trombone player. The list of artists<br />
he played for is huge . . . He once played for<br />
Nat (King) Cole, and later for his daughter<br />
Natalie Cole,” notes Ryan. “I think he hit the<br />
road with Danny in the early 1970s, and came<br />
off the Brass like in ’77. The last musical thing<br />
he did here was The Statler Brothers’ show on<br />
TNN. He did a nice little thing with Leon Redbone<br />
singing, while he had a fine little instrumental<br />
solo.”<br />
Some say for many years Peer was a regular<br />
attraction at the old Cajun Wharf restaurant,<br />
doing Dixieland. With former Iowa student<br />
Roger Bissell, however, he founded a two-trombone<br />
and rhythm band called The Hip Bones in<br />
1977, also playing area clubs.<br />
Two stand-out Peer arrangements were “The<br />
St. Louis Blues March” for the <strong>Nashville</strong> Brass,<br />
and “The National Anthem” for Benny. Rex<br />
Peer also launched the <strong>Nashville</strong> Sound Plus<br />
You, a singalong recording unit, sort of a predecessor<br />
to today’s karaoke fad.<br />
“He started that with a couple other guys,<br />
but then he bought them out,” adds Ryan. “It<br />
was something he worked on like one day a<br />
week, until he let someone buy him out.”<br />
Although Ryan’s mom - Barbara Benton<br />
Peer - was creative as a clothing designer and<br />
semi-professional photographer, he remembers<br />
she was more a full-time Mom. She died in<br />
<strong>Jan</strong>uary 2008. Ryan’s sister Rachel played bass<br />
and during eight years with then-husband John<br />
Prine, played bass and sang harmony for him.<br />
“She also worked with the Everly Brothers<br />
quite a bit,” he recalls, adding “My sister<br />
Cindy’s a decent piano player, but she saw her<br />
role more as being a mother and homemaker.”<br />
While Ryan claims, “I was a pretty mean<br />
high school trombone player,” he admits that<br />
he enjoys his current job in the graphic arts division<br />
of Lightning Source, a subsidiary of<br />
Ingram Books, in LaVergne.<br />
What characteristic did he most admire in<br />
his father?<br />
(Continued on page 31)<br />
Rex Peer
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 9<br />
Hello from Mike Brignardello. On his victory<br />
in Local 257's Presidential election Dec.<br />
14, 2008, Dave Pomeroy resigned his post as<br />
President of RMA <strong>Nashville</strong>. As vice-president<br />
I have agreed to serve as RMA <strong>Nashville</strong>'s new<br />
President.<br />
Well, 2009 is off to an exciting start with a<br />
new leadership team at Local 257 and an energized<br />
membership. The turn-out for this election<br />
was about double the last cycle, and it's<br />
self-evident that RMA <strong>Nashville</strong> played a vital<br />
part in motivating members to participate.<br />
While I am very excited about Dave<br />
Pomeroy's win, and that of fellow RMA member<br />
Craig Krampf as Local 257's new Secretary-Treasurer,<br />
I am keenly aware that RMA<br />
<strong>Nashville</strong> will miss Dave's passion and enthusiasm.<br />
Dave was instrumental in growing the<br />
RMA <strong>Nashville</strong> chapter to its largest membership<br />
ever, and represented <strong>Nashville</strong> musicians<br />
on the national level with skill and integrity.<br />
Small wonder that others in our music community<br />
noticed, and elected him President of 257,<br />
the fourth biggest Local in the country. His leadership<br />
will be missed, but I am honored to try<br />
and carry on the principles of the RMA, which<br />
is working for the betterment of all recording<br />
musicians. We have a terrific Executive Board<br />
and I'm looking forward to working together<br />
with them, along with our members, to solve<br />
problems, define issues, and keep <strong>Nashville</strong> a<br />
great recording center.<br />
While there is much to celebrate on the Local<br />
level, RMA still faces challenges on the National<br />
front. As of this writing, the AFM International<br />
Executive Board is considering<br />
whether or not to de-certify the RMA as an AFM<br />
player conference. The threat has been looming<br />
since June 2008, when the idea was first<br />
proposed at an IEB meeting. RMA International<br />
officers, along with local RMA officers, have<br />
been unsuccessful, so far, in their meetings with<br />
the IEB, to resolve the issues that have us at the<br />
current impasse. We're exploring avenues of<br />
communication and are hopeful a dialogue will<br />
begin, but for now, we're awaiting the IEB's<br />
decision.<br />
I don't have space to recount the history, but<br />
the threat to the RMA eventually became one<br />
of the major campaign issues in this past Local<br />
election, an example of a national issue spilling<br />
over into local politics. To the best of my<br />
knowledge, RMA <strong>Nashville</strong> members have filed<br />
no lawsuits against the union, have not been<br />
Musician-educator Baldassari<br />
succumbs to cancer at age 56<br />
Butch Baldassari in 2007 Patricia Presley photo.<br />
Our last message from mandolin-master<br />
Jerome H. (Butch) Baldassari occurred over the<br />
holidays, as he plugged his new book and CD<br />
combo, “A Victorian Christmas: Sentiments &<br />
Sounds Of a Bygone Era.”<br />
Sad to say, the bluegrass session player died<br />
from cancer <strong>Jan</strong>. 10, at St. Thomas’s Alive Hospice,<br />
following a lengthy battle that left him<br />
unable to play his beloved instrument.<br />
Baldassari was 56.<br />
The musician was diagnosed with an inoperable<br />
brain tumor in May 2007, and a benefit<br />
was conducted on his behalf at Blair School of<br />
Music, on Oct. 27, 2007, to help defray the<br />
family’s mounting medical costs. Baldassari had<br />
served as an adjunct professor of mandolin at<br />
Blair since 1996, while also heading up the<br />
<strong>Nashville</strong> Mandolin Ensemble (since June<br />
1991). He also played on numerous sessions,<br />
including those of Alison Krauss, John Mock<br />
and David Schnaufer.<br />
Butch recently noted, “Support from family,<br />
fans and friends has been enormous. I am<br />
humbled and thankful for it. I am often reminded<br />
of and surrounded by many of the musical<br />
friends I've made over the years. What a pleasure<br />
it is to know them and privilege to have<br />
recorded with many of them.<br />
“I stay busy with projects and am writing a<br />
column for Mandolin magazine,” Baldassari<br />
added. “Although I can't play for now, the music<br />
in me is still very much alive. It feeds my<br />
soul and excites me every day.”<br />
According to Mark Wait, dean, Vanderbilt’s<br />
Blair School of Music, “Butch Baldassari was<br />
a wonderful artist, a warm and generous teacher<br />
and a great colleague and friend. We were extremely<br />
fortunate to enjoy his affiliation with<br />
the Blair School and to learn from this remarkable<br />
man. Butch’s passing is a huge loss to the<br />
Blair School, to Vanderbilt and to the musical<br />
community.”<br />
A number of bluegrass greats joined Butch<br />
in recording his solo project, “Old Town.”<br />
Among them Alison Krauss, Tim Stafford, Sam<br />
Bush, Ron Block, Alan O'Bryant, and Mike<br />
Bub. Incidentally, Bub and Block were members<br />
with Baldassari and Chris Jones in the bluegrass<br />
band Weary Hearts.<br />
A native of Scranton, Pa., he was the son of<br />
Henry and Patricia Baldassari. Jerome was a<br />
graduate of Scranton Preparatory School and<br />
also attended the University of Scranton and<br />
the Berklee School of Music, in Boston, Mass.<br />
“Butch” became a professional picker at age<br />
35, and subsequently served in such bands as<br />
Grammy-nominated groups Grass Is Greener<br />
and Lonesome Standard Time. Following<br />
graduate work at the University of Nevada-Las<br />
Vegas, he toiled a time as a croupier at casino<br />
gaming tables in the gambling capital. He<br />
moved to <strong>Nashville</strong> in 1989.<br />
Butch also played mandocello and mandolo,<br />
and conducted mail-order instructions, prompting<br />
some to say he made a cottage industry out<br />
of mandolin music. Numbering among his Blair<br />
School mandolin students was popular singer<br />
Dierks Bentley, who claimed, “Butch really encouraged<br />
me musically. I took mandolin lessons<br />
from him, and he’s full of information.”<br />
Former fellow instructor on the Vanderbilt<br />
campus, fiddler Matt Combs had spearheaded<br />
Recording<br />
<strong>Musicians</strong><br />
<strong>Association</strong><br />
Mike Brignardello<br />
President<br />
charged with breaking union rules, and have not<br />
joined any other “shadow” union. Yet 200 of<br />
our busiest, most active members are being<br />
threatened with losing their voice within the<br />
union. It's frustrating, because the IEB has chosen<br />
to threaten an entire player conference for<br />
the actions of a few individuals. If a member<br />
breaks a union rule, the individual should be<br />
charged with the violation, not an entire player<br />
conference. Because I'm an optimist, I think the<br />
IEB will come to this conclusion. I believe that<br />
the IEB will vote NO on de-conferencing the<br />
RMA. An AFM without the RMA will serve no<br />
one's interest.<br />
But it highlights the importance of focusing<br />
our energies on the <strong>Nashville</strong> music community<br />
and our own Local business. Whatever<br />
the 2007 fundraiser, saying, “Butch is a fantastic<br />
mandolin player. This is a community where<br />
people band together for their friends who are<br />
hurting, so that’s what we’re doing.”<br />
Butch was nominated three years running<br />
as top mandolinist by the International Bluegrass<br />
Music <strong>Association</strong> (IBMA) and also<br />
awarded Song of the Year and Best Classical<br />
Recording from the <strong>Nashville</strong> Music <strong>Association</strong>.<br />
Turning out to entertain for the cause Oct.<br />
27, 2007, were Bentley, Ricky Skaggs, Mark<br />
O’Connor, Bela Fleck, The Grascals, Kathy<br />
Chiavola, John Cowan, Dave Pomeroy’s Three<br />
Ring Circle, John Mock, Maura O’Connell,<br />
Shawn Camp, Tony McManus and Butch’s<br />
Mandolin Jazz Ensemble players.<br />
Among Baldassari's how to educational aids<br />
available are such as “You Can Play Bluegrass<br />
Mandolin (Volumes I & II),” “16 Gems - Bill<br />
Monroe Transcriptions,” “Evergreen Mandolin<br />
the future brings on the national front, we can<br />
continue the tradition of working together with<br />
our union and serving the music industry here<br />
in our backyard. We have a great working relationship<br />
with the <strong>Nashville</strong> music industry, a<br />
long history of “musician tradition” in <strong>Nashville</strong>,<br />
and close personal relationships with artists,<br />
publishers, producers and label heads. We<br />
have excellent leadership at our Local and engaged<br />
members. I believe we could weather just<br />
about any storm because of our unique situation.<br />
I've seen the effects of an energized informed<br />
membership, and I know we can accomplish<br />
good things as long as we work together.<br />
Times are changing, and the way we work<br />
is changing, too. We're working together with<br />
President Pomeroy on formulating a new local<br />
internet scale, input welcome. Of course, we<br />
are continuing discussions with the IEB to resolve<br />
the de-conferencing question. There is<br />
much work to do and we need your help.<br />
Please join or renew your membership to<br />
RMA <strong>Nashville</strong> and help us continue to work<br />
for you. Use the Pay Pal option on our site, http:/<br />
/www.rmanashville.com, or mail a check. All<br />
of the RMA <strong>Nashville</strong> officers and Board serve<br />
on a volunteer basis, so all the dues we collect<br />
are used for the work of serving our members.<br />
Join with us and help keep <strong>Nashville</strong> the best<br />
place to make music.<br />
Best regards,<br />
Mike Brignardello<br />
I'm adding a personal postscript and sending<br />
heartfelt thanks for the years of dedicated<br />
service by President Harold Bradley and Secretary-Treasurer<br />
Billy Linneman. I was honored<br />
to know and work with you both.<br />
Music For Christmas” and “Acutab - Transcriptions,<br />
Volume I.” He has recorded for Rebel,<br />
Cactus, CMH, Pinecastle, Columbia and his<br />
own label (check out soundartrecordings.com).<br />
Survivors include wife Sinclair (Dickey)<br />
Baldassari, son Blake, and mother Patricia<br />
Baldassari, along with two brothers, Henry<br />
Baldassari, Jr. and Louis Baldassari. Services<br />
were conducted <strong>Jan</strong>. 17 in St. Francis of Assisi<br />
Church, Scranton, co-celebrated by Monsignor<br />
Philip A. Gray, pastor, and The Reverend William<br />
Campbell. Arrangements were handled by<br />
the Neil Regan Funeral Home, Scranton.<br />
On <strong>Jan</strong>. 31, a <strong>Nashville</strong> service was held at<br />
Blakemore United Methodist Church, followed<br />
by a public memorial in the Station Inn, Feb. 1.<br />
There has been a tax-deductible college fund<br />
set up in the name of: Blake Gordon Baldassari,<br />
c/o Morgan Stanley, Attn: Jason Pharris, 2525<br />
West End Avenue, Suite 1220, <strong>Nashville</strong>, TN<br />
37203. - Walt Trott<br />
Player pal pays homage to mandolinist<br />
By MIKE BUB Butch's fight with brain cancer lasted over a<br />
(Editor’s note: Local 257 member, mandolinist<br />
Butch Baldassari, founder of the <strong>Nashville</strong><br />
Mandolin Ensemble, died on the morning<br />
of <strong>Jan</strong>. 10, at St. Thomas Hospital. His longtime<br />
friend and musical associate, bassist<br />
Michael D. Bub, offered these words of appreciation<br />
and reflection.)<br />
It was nearly 20 years ago that Butch and I<br />
moved to <strong>Nashville</strong> with Chris Jones and Ward<br />
Stout to pursue our musical endeavor in Weary<br />
Hearts.<br />
I have known Butch since I was probably<br />
15 or 16, and that is just shy of 30 years. We<br />
played a lot of music and traveled many miles<br />
together, before our musical paths took on new<br />
directions in the early ’90's.<br />
Butch was a great player, known for his taste<br />
and beautiful tone on the mandolin. He was a<br />
sharp businessman, and involved himself in all<br />
aspects of the music business as it related to<br />
the mandolin: recording artist, session musician<br />
and sideman, performer, producer, label owner,<br />
arranger, bandleader, booking agent, instrument<br />
collector and designer, as well as teacher.<br />
Butch Baldassari's music covered a lot of<br />
varied genres and he played it all with great<br />
ability and respect.<br />
year-and-a-half. I am saddened to see him go,<br />
but I am relieved that he is no longer having to<br />
suffer with this terrible and painful disease. His<br />
fight has been valiant and inspired due to his<br />
wife Sinclair and son Blake at his side the entire<br />
way.<br />
Keep them in your thoughts as they struggle<br />
through these toughest of times. Rest in peace<br />
my friend.<br />
Butch Baldassari
10 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
Do not work for . . .<br />
Accurate Strategies, Inc. (outstanding contracts)<br />
Adagio Music/Sam Ocampo (outstanding contract)<br />
Allen McKendree (pension)<br />
Beautiful Monkey/JAB Country (outstanding contract)<br />
Casa Vega/Ray Vega (outstanding contracts)<br />
Com Source Media (pension)<br />
Doug Wayne Prod. (pension)<br />
Down the Layne (pension)<br />
Elite III Records (pension)<br />
Eric Legg (outstanding contracts)<br />
FJH Enterprises (pension)<br />
Gene Avaro (pension)<br />
Generator Music (pension)<br />
Get Off My Bach, Inc. (outstanding contract)<br />
Goofy Footed (pension)<br />
Gospocentric (pension)<br />
Honey Tree Prod. (pension)<br />
Jeffrey Green/Cahernzcole House (pension)<br />
Jerrod Niemann (pension)<br />
Jimmy Fohn Music (pension)<br />
Joseph McClelland (pension)<br />
Journey Records (pension)<br />
Kenny Lamb (outstanding contracts)<br />
Lyrically Correct Music Group/Jeff Vice (outstanding<br />
contract)<br />
Malaco (pension)<br />
Matchbox Entertainment/Dwight Baker (outstanding<br />
contract)<br />
Maverick Management Group (pension)<br />
<strong>Nashville</strong> Midnight Oil (pension)<br />
Nathan Thompson (pension)<br />
PSM (pension)<br />
Prism Music (pension)<br />
Randy Hatchett (pension)<br />
Reach Ministries (pension)<br />
Rick Henry (pension)<br />
Robert David Stacy (pension)<br />
Ronnie Palmer (pension)<br />
Round Robin/Jim Pierce (outstanding contract)<br />
Shaunna Songs/Shaunna Bolton (outstanding contract)<br />
Sound Resources Prod./Zach Runquist (outstanding<br />
contracts/pension)<br />
Steal Hearts Music, Inc. (pension)<br />
Sterling Productions (pension)<br />
Village Square, Inc. (pension)<br />
Write It Lefty/Billy Davis (pension)<br />
Write Records/Skip Ewing (outstanding contracts/late<br />
penalties)<br />
-----------------------------------------------------------------------<br />
Add A Player.com (pension)<br />
Al Sostrin (pension)<br />
Allianz (pension)<br />
Anthony Smith Prod. (demo signature)<br />
Chez Musical/Sanchez Harley (outstanding contracts)<br />
Compass Productions - Alan Phillips and David<br />
Schneiderman (outstanding contracts)<br />
Conrheita Lee Flang/Chris Sevier (pension)<br />
Daddio Prod./Jim Pierce (outstanding contract)<br />
Data Aquisition Corp./Eric Prestidge (pension)<br />
Derrin Heroldt (pension)<br />
Double J Productions/Tony Ramey (pension)<br />
Engelbert Humperdinck (pension)<br />
Field Entertainment Group/Joe Field (outstanding<br />
contract)<br />
First Tribe Media (pension)<br />
Ginger Lewis (outstanding contract)<br />
Goldenvine Prod./Harrison Freeman (outstanding contract)<br />
Greg Holland (outstanding contract)<br />
Heritage Records/Lew Curatolo (pension)<br />
Highland Music Publishing (pension)<br />
Hot Skillet/Lee Gibson (outstanding contract/limited<br />
pressing signature)<br />
Howard Music Group (pension)<br />
Mark Hybner (outstanding contract)<br />
J.C. Anderson (pension)<br />
Jack Wilcox (outstanding contract)<br />
Joe Meyers (pension)<br />
Katana Productions/Duwayne “Dada” Mills (outstanding<br />
contracts)<br />
Kenny Lamb (outstanding contract)<br />
King Craft, Inc./Michael King (outstanding contracts)<br />
Matachack James (pension)<br />
MC Productions/Mark Cheney (outstanding contract)<br />
MCK Publishing/Rusty Tabor (outstanding contract)<br />
Michael Sykes Productions (pension, outstanding contract)<br />
Michael Whalen (pension)<br />
Miss Ivy Records/Bekka Bramlett (outstanding upgrades)<br />
MS Entertainment/Michael Scott (outstanding contract)<br />
O Street Mansion (pension)<br />
On The Green/Kevin Beamish (outsanding contracts)<br />
Parris Productions/Garrett Paris (pension)<br />
Paul Jenkins (pension)<br />
Pete Martinez (pension)<br />
Pitchmaster/Carroll Posey (pension)<br />
Positive Movement/Tommy Sims (outstanding contracts)<br />
Quarterback/G Force Music/Doug Anderson (outstanding<br />
contracts)<br />
Rebecca Frederick (pension)<br />
Region One Records (outstnading contract)<br />
Renaissance Music Group/Deborah Allen (outstanding<br />
contracts)<br />
RLS Records-<strong>Nashville</strong>/Ronald Stone (outstanding<br />
contract)<br />
RichDor Music/Keith Brown (outstanding contract)<br />
Rust Records/Michelle Metzger (outstanding contracts and<br />
pension)<br />
Shauna Lynn (outstanding contract)<br />
Shy Blakeman (outstanding contract)<br />
Singing Honey Tree (outstanding contract)<br />
Sleepy Town/David Lowe (outstanding contract)<br />
Small Time Productions/Randy Boudreaux (outstanding<br />
contract)<br />
Songwriters Collective (outstanding contract)<br />
Star Path Prod./Wayde Battle (pension)<br />
Summer Dunaway (outstanding contract)<br />
Tony Graham (pension)<br />
Travis Allen Productions (pension)<br />
Two Monkeys (outstanding contracts)<br />
Village Square (pension)<br />
We 3 Kings (outstanding contract)<br />
Eddie Wenrick (outstanding conract)<br />
Will Smith Productions (outstanding contract)<br />
Woody Bradshaw (pension)<br />
YGT 40/Lawrence B. Gotliebs (pension)<br />
Baldwin Entertainment/Will Smith (pension)<br />
Copyright.net (outstanding contracts)<br />
Earthtone Publishing/Roy English (outstanding<br />
contract)<br />
Fat Possum/Bruce Watson (outstanding contract)<br />
Home Records/David Vowell (outstanding contracts)<br />
Marty McIntosh (outstanding contract)<br />
Multi-Media (outstanding contract)<br />
Notation Music (outstanding contract)<br />
Over the Moon Productions/Rick Scott Prod. (outstanding<br />
contract)<br />
Raven Records/Coy Ray (outstanding contract)<br />
Rendale Music (outstanding contracts)<br />
Rick Tunes (outstanding contract)<br />
Roxanne Entertainment (outstanding contract)<br />
RPB Productions/Coy Ray (outstanding pension & phono<br />
signatory)<br />
Sean Ruth (outstanding contract)<br />
Sunbird (outstanding contracts)<br />
Thrillstreet/Jerry Parent (outstanding contract)<br />
Century Music/Art Ward (outstanding contracts)<br />
Golden Vine/Darrell Freeman (outstanding contract)<br />
Kyle Jacobs (outstanding contract)<br />
Labeless Records/Coy Ray (outstanding pension)<br />
-----------------------------------------------------------------------<br />
Amentco (American Entertainment Concepts/Ron<br />
Camacho)<br />
ARK 21<br />
Bait & Tackle (pension)<br />
Bernie Nelson (Heatherington)<br />
Don Goodman Music (payment/pension)<br />
Garland Entertainment (Warren Garland)<br />
James House Productions (outstanding contracts)<br />
Jeff Best/Clever Cowboy (payment/ pension)<br />
John Bunzow (pension)<br />
John Kevin Mulkey (DWM)<br />
K.A.R.E., Inc.<br />
Larry Rose (Entheos Group)<br />
Margaret Bell-Byers (pension)<br />
Maximus (outstanding contract)<br />
Mooneyhand Pictures (Wayne Mooneyhand)<br />
Music Row Records/Gene Cash (outstanding contract)<br />
Nancy Grant<br />
On Purpose Prod. (pension)<br />
Pat Reese, Music Media Int’l.<br />
Pinebrook (pension)<br />
Radio Records/J. Gary Smith (outstanding contract)<br />
Randy Huston (Dr. Vet Music)<br />
Revelator/Gregg Brown (bounced checks)<br />
Rio Star<br />
River Girl, Inc.<br />
Roy Salmond, Whitewater Prod.<br />
Tom Oelson (pension)<br />
Tyler Music Group (pension)<br />
Volzone Prod./Gary Lloyd<br />
William R. Holmes (outstanding contract)<br />
Wyndstar (pension)<br />
-----------------------------------------------------------------------<br />
AFM Non-Signatory List<br />
Allen McKendree (demo signature)<br />
Com Source Media (limited pressing)<br />
Doug Wayne Prod. (limited pressing)<br />
Down The Layne (limited pressing)<br />
Elite III Records (demo signature)<br />
FJH Enterprises (phono/limited pressing)<br />
Gene Evaro (demo signature)<br />
Generator Music (demo signature)<br />
Ginger Lewis (demo signature)<br />
Honey Tree Prod. (demo signature)<br />
Hope Productions (demo signature)<br />
Jeffrey Green/Cahernzcole House (limited pressing)<br />
Jerrod Niemann (demo signature)<br />
Jimmy Fohn Music (demo signature)<br />
Journey Records (limited pressing)<br />
Malaco (demo signature)<br />
Maverick Management Group (phono/demo signature)<br />
<strong>Nashville</strong> Midnight Oil (demo signature)<br />
Nathan Thompson (limited pressing)<br />
PSM (limited pressing)<br />
Prism Music (limited pressing)<br />
Randy Hatchett (demo signature)<br />
Rick Henry (limited pressing)<br />
Robert David Stacy (demo signature)<br />
Ronnie Palmer (demo signature)<br />
-----------------------------------------------------------------------<br />
Allianz (demo signature)<br />
Anthony Smith Prod. (demo signature)<br />
Blake Mevis Music (demo signature)<br />
Blue Desert Music Group (phono)<br />
Caribbean Country Management (demo signature)<br />
Chariscourt, Ltd. (phono)<br />
Conrheita Lee Flang/Chris Sevier (demo signature)<br />
Data Acquisition Corp./Eric Prestidge (demo signature)<br />
Double J Productions/Tony Ramey (demo signature)<br />
Engelbert Humperdinck (demo signature)<br />
First Tribe Media (phono)<br />
Heritage Records/Lew Curatolo (demo signature)<br />
Joe Meyers (phono)<br />
KJ Entertainment (limited pressing)<br />
Labeless Records/Coy Ray/RPB Prod. (phono)<br />
MS Entertainment/Michael Scott (limited pressing)<br />
Matachack James (limited pressing)<br />
Michael Sykes Productions (demo signature/limited<br />
pressing)<br />
Parris Productions/Garrett Paris (demo signature)<br />
Peter Good (demo signature)<br />
Pitchmaster/Carroll Posey (demo signature)<br />
Quarterback/G Force Music/Doug Anderton (phono)<br />
Region One Records (limited pressing)<br />
Sawyer Brown (limited pressing)<br />
Shy Blakeman (limited pressing)<br />
Starpath Prod./Wayde Battle (demo signature)<br />
The Pitchmaster (demo signature)<br />
Title tunes (demo signature)<br />
Travis Allen Productions (limited pressing)<br />
Domination Records LLC (Limited Pressing)<br />
Kurt A..Koble (Limited Pressing)<br />
Point To Point LLC (limited pressing)<br />
Sammy Harp Productions (limited pressing)<br />
Wade Spencer Ministries, Inc. (phono)<br />
Wowboy Music Group (demo signature)<br />
YTG 40/Lawrence B. Gottliebs (demo signature)<br />
----------------------------------------------------------------------<br />
Christopher Mortland (limited pressing)<br />
Cottageworks/Betsy Foster (limited pressing)<br />
44 West/Mike Welch (limited pressing)<br />
Electronic<br />
Media<br />
Services<br />
Division<br />
By Melissa<br />
Hamby Meyer<br />
I hope that you found great joy during the holiday season! We are already off and running in<br />
2009! The days seem to be rushing by so quickly, let us all be very intentional in taking a moment<br />
each day to cherish the blessings in our lives!<br />
With this New Year comes great change... We would like to thank Harold Bradley and Billy<br />
Linneman for their dedicated service to this Local! It has been an honor to work with them. As we<br />
move forward and embrace these changes, we welcome Dave Pomeroy and Craig Krampf. Each<br />
New Year contains untold surprises, so it is with great anticipation…each year…that we wait to see<br />
what the New Year will hold!<br />
Signatory Renewals<br />
The Sound Recording and Limited Pressing Signatory Agreements run on concurrent three-year<br />
cycles and this last cycle was scheduled to expire on <strong>Jan</strong>uary 31, 2009. During the last round of<br />
negotiations, the AFM and Sound Recording Industry agreed to extend the Sound Recording Labor<br />
Agreement for a period of one year. The extended agreement will now expire on <strong>Jan</strong>uary 31, 2<strong>01</strong>0.<br />
All current signatories for this agreement should receive a one-year renewal acceptance letter to<br />
sign from the AFM in New York. To ensure the timely processing of your pension, it is imperative<br />
that you confirm the signatory's renewal when you are engaged to work under this agreement.<br />
Local 257 is also extending the term of the Limited Pressing Agreement for a period of one year<br />
to expire on <strong>Jan</strong>uary 31, 2<strong>01</strong>0. All current Limited Pressing Signatories will be sent a letter notifying<br />
them of this automatic one-year extension. There is no requirement to sign for this extension;<br />
therefore no action will be necessary for a Limited Pressing Signatory to maintain their current<br />
status.<br />
Have a new employer that wants to sign during this one-year extension? The new SRLA Acceptance<br />
Letter and Limited Pressing Agreement are available online at www.afm257.org in PDF<br />
format.<br />
Wage and H&W Increases<br />
The SRLA one-year extension negotiations include a 2% wage increase for Master and Low<br />
Budget sessions. The new 3-hour Master sidemusician wage is $380.02 and the new Low Budget<br />
sidemusician wage is $213.48. In addition, a $0.50 increase was negotiated for H&W, bringing it<br />
to $22.50 per musician for the first original service and $17.00 per musician for each additional<br />
service that day (excluding Low Budget which will remain at $15.50). These increases were negotiated<br />
to take effect the first Monday (February 9, 2009) after ratification and will remain in effect<br />
through <strong>Jan</strong>uary 31, 2<strong>01</strong>0.<br />
Given the current economic concerns of our Nation, the Local has decided not to increase actual<br />
scale wages for Demo and Limited Pressing sessions. H&W will increase $0.50, as stated above, in<br />
keeping with SRLA.<br />
Pension contributions will remain at 11% for Sound Recording, Demo, Limited Pressing and<br />
Low Budget sessions.<br />
The new scale sheets are available online at www.afm257.org in PDF format. If you would like<br />
to pick up a copy of any of these, please feel free to stop by the Local.<br />
Signatory…Pension…Special Payments<br />
The first quarter of each year finds us diligently working to secure necessary Signatory agreements<br />
prior to the Pension Fund's fiscal year end, so you may receive as much credit as possible on<br />
your annual statement. Any session that is done without the appropriate Signatory in place at that<br />
time is considered non-sig and your individual pension credit cannot be applied at the Fund. If the<br />
necessary Signatory agreement cannot be secured, your pension contribution may ultimately be<br />
returned by the Fund!<br />
If your session (Master or Low Budget) is also eligible for Special Payments credit, you cannot<br />
receive that credit until the pension is paid and fully processed at the Pension Fund. I cannot stress<br />
enough…when the appropriate signatory is not in place, your future pension and annual Special<br />
Payments disbursement are in jeopardy!!<br />
This department spends an incredible amount of time securing signatory after the fact, which is<br />
a drain on personnel hours that could be dedicated to benefit you in other areas. It is the Leader<br />
and/or Contractor's responsibility to ensure that the current signatory is in place prior to downbeat.<br />
In order to secure your proper credit, we need your help . . . Please confirm signatory before your<br />
session!<br />
Time Cards and Contract Copies<br />
It is the Leader/Contractor's responsibility to have a time card completed at a session. Time<br />
cards are unique to our jurisdiction and are the property of Local 257. They should be turned in to<br />
(Continued on page 11)<br />
Francis X. Sullivan<br />
Jason Kerr Ministries - Don Goodman<br />
J. Carlos (limited pressing)<br />
Lance Productions (limited pressing)<br />
One G Productions (limited pressing)<br />
Peer Music (limited pressing)<br />
Roxanne Entertainment<br />
Taylor Productions (limited pressing)<br />
-----------------------------------------------------------------------<br />
TBN, Paul Crouch (phono/video)<br />
Campfire Records<br />
Chapel Music Group<br />
MTL Limited<br />
LaToya Jackson & Jack Gordon<br />
Westwood One<br />
Worldwide Agency<br />
Union music is best!
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 11<br />
Steel whiz Walter Haynes dies<br />
Walter Haynes exhibits his plaque.<br />
Steel Guitar Hall of Famer Walter Haynes,<br />
80, died <strong>Jan</strong>. 1, 2009, in Tyler, Texas. On sessions,<br />
he played behind such legendary talents<br />
as Patsy Cline, Bill Monroe, Johnny Cash and<br />
The Everly Brothers.<br />
The multi-talented Haynes was born Dec.<br />
14, 1928 in Kingsport, Tenn., and after high<br />
school came to <strong>Nashville</strong> to play fiddle and steel<br />
guitar.<br />
Haynes spent 13 years as a WSM Grand<br />
Ole Opry staff musician, and worked some six<br />
years as a steel guitarist in Jimmy Dickens’<br />
Country Boy’ band, before joining Ferlin<br />
Husky’s Hush Puppies, traveling three years<br />
with that troupe.<br />
“I’ll be durned,” says Husky, on learning<br />
of Haynes’ death. “He was a fine player and I<br />
sure did like him. I first met ‘Wally’ (his nickname<br />
for Haynes), while he was with Little<br />
Jimmy Dickens. When he came with me, he also<br />
played saxophone, and as he come out on stage<br />
playing, I told ’em, ‘Here’s Wally and his saxophone.’<br />
I can see him laughin’ now.”<br />
Additionally, he toured with Webb Pierce’s<br />
band. Haynes, who became an in-demand studio<br />
session player, was also a major songwriter<br />
whose credits include two Billboard #1s “Girl<br />
On the Billboard” (Del Reeves) and “It’s Time<br />
To Pay the Fiddler” (Cal Smith), with Hank<br />
Mills, and Don Wayne, respectively. As a producer,<br />
he helmed such talents as Reeves (“Belles<br />
of Southern Bell”), Smith (“Country Bumpkin”)<br />
and Jeanne Pruett (“Satin Sheets”).<br />
Haynes played on WSM-TV’s breakfast<br />
broadcast, while supporting such stars in the<br />
studio as Emmylou Harris, The Oak Ridge<br />
Boys, Mel Tillis and Hank Williams, Jr.<br />
Working as director for Moss Rose Publishing<br />
from 1965, Walter landed contracts for 100<br />
songs recorded in his first year.<br />
In 1969, he headed up the subsidiary Kapp<br />
Records, and then went on to serve as vice president<br />
at parent company MCA. Among artists<br />
Haynes produced were Jack Greene, Bill Monroe,<br />
Marty Robbins, Loretta Lynn and Conway<br />
Twitty.<br />
Haynes was named CMA Producer of the<br />
Year in 1974, thanks in large part to “Country<br />
Bumpkin.” Hired as a consultant for IBC<br />
Records in ’79, Haynes made that label the second<br />
most popular indie in the nation, giving it<br />
successive hits by the Opry’s Jeanne Pruett:<br />
“Back To Back,” “Temporarily Yours” and “It’s<br />
Too Late.”<br />
Walter also had a talent for studio design,<br />
upgrading a trio of <strong>Nashville</strong> area recording facilities.<br />
In 1998, he relocated to Pigeon Forge,<br />
Tenn., where he played regularly at the Memories<br />
Theater, while still running two publishing<br />
firms.<br />
In later years, Haynes had been teaching students<br />
to play in Bullard, Texas.<br />
In 2000, he was inducted into the Texas Independent<br />
Country Music Hall of Fame, and in<br />
2003 enshrined in the International Steel Guitar<br />
Hall of Fame in St. Louis. He was also a<br />
Lifetime Member of AFM Local 257.<br />
According to his widow Cindy, funeral services<br />
were conducted in Tyler, Sunday, <strong>Jan</strong>. 4.<br />
- Walt Trott<br />
Barnett to link up with NJO<br />
Singer Mandy Barnett will perform with the<br />
<strong>Nashville</strong> Jazz Orchestra at 8 p.m. Thursday,<br />
Feb 26, at Blair School of Music on the<br />
Vanderbilt University campus. The concert will<br />
feature Barnett's dynamic vocals in a program<br />
of classic American standards, with Music<br />
City's premier jazz big band, led by Music Director<br />
Jim Williamson. Tickets: $20 general<br />
admission; $15 VU faculty & staff, seniors 65<br />
& over, students with ID; and $5 for Vanderbilt<br />
students only. Tickets available at Ingram Center<br />
box office the night of the performance, also<br />
check out: info@nashvillejazzorchestra.org<br />
Editor’s note: If you like the spiffy<br />
new name line - The <strong>Nashville</strong><br />
Musician - on page 1, thank Dave<br />
Pomeroy and Craig Krampf for<br />
helping in its design, and graphic<br />
artist Tom Barkoukis for bringing<br />
it to reality.<br />
. . . more Electronic Media Services Division information<br />
(Continued from page 10)<br />
the Local immediately following your session(s). If you are preparing the contract for a session,<br />
you should also submit a file copy of your contract with your time card submission.<br />
Email Updates<br />
Email can be a very productive means of communication. In addition, Local 257 also has check<br />
notification available via email, which will send you a message each time a new check is posted to<br />
your account. Please contact us to confirm that we have your correct email address on file.<br />
Closing out 2008<br />
As you finish closing out your books for 2008, keep in mind that we can provide you with copies<br />
of your current outstanding payment report and 2008 payment history report to assist you. Once<br />
you have had an opportunity to review your outstanding payment report, feel free to contact us<br />
regarding any session you believe has not been paid. Please provide us with the basic session<br />
information, such as signatory, session date and time, leader and artist. If you have been paid<br />
directly for any session(s) listed, please let us know so that we can update the contract information.<br />
You can email (teri@afm257.org or melissa@afm257.org), fax (615-242-8558), or bring in this<br />
information so that we may better assist you.<br />
Your Staff<br />
Your Recording Department staff is an amazing team! They work very hard for you and are to<br />
be commended for their continued dedication. I am truly grateful for each one of them! Wishing<br />
you a prosperous and joyful 2009!<br />
**Review the Do Not Work For and Non-Sig Lists in each edition. If you have worked for one of<br />
these employers, you may have unsecured Pension or Special Payments credit.**<br />
An appeal to all of our members<br />
Beneficiary Info<br />
If the beneficiary name is wrong on your form, there is absolutely nothing we can do. Please<br />
take a few minutes to make sure the beneficiary is correct for the way things are for you in 2009.<br />
Your loved ones are depending on you.<br />
Update info<br />
You would be quite amazed on how much old and incorrect info is in our files. Please update<br />
your information for the way it is in 2009. Please help us communicate with you.<br />
E-mail Info<br />
We have over 2,600 members and only have 830 e-mail addresses in our database. There is a lot<br />
of “late breaking” news and information that we would like to get to you as fast as we can and our<br />
newspaper is only a quarterly publication. Please provide us with your e-mail address. We don't sell<br />
or share e-mail addresses and our server is very secure. You may like us to have it, but don't want it<br />
publically listed…we will do that for you and keep in mind, your address is not visible to others in<br />
the e-mails we send. We don't bombard you…only things of importance to you as an AFM Local<br />
257 member are sent. Please help us communicate with you.<br />
Our Readers write:<br />
Dear President Harold Bradley:<br />
I wanted to thank you for allowing USAGEM<br />
to meet with you and (Secretary-Treasurer)<br />
Billy Linneman, and present our 2008<br />
USAGEM Presidential Award. I felt very<br />
blessed by this opportunity.<br />
You are helping us do a good work for the<br />
Lord’s sake. We are expecting great growth in<br />
our association in 2009. It is our goal that all of<br />
our artists will come to <strong>Nashville</strong> and upgrade<br />
the quality of their Gospel/Christian recordings<br />
by using Union musicians - the best musicians<br />
in the world!<br />
I look forward to working with you and your<br />
staff for years to come. Blessings.<br />
- Daniel L. Johnson<br />
President, USAGEM<br />
<strong>Nashville</strong><br />
(Editor’s note: See photo on page 21.)<br />
Dear Editor & AFM Local 257:<br />
It was such a joy and comfort to receive and<br />
read the wonderful article you wrote and included<br />
in your October-December 2008 (newspaper)<br />
The <strong>Nashville</strong> Musician. It revealed that<br />
you knew Charlie’s career and biography well,<br />
and it expressed the significance of his importance<br />
in the great history of C&W music, as it<br />
has played out in America’s culture.<br />
Our house is filled with Charlie’s papers,<br />
documents, letters, photos, etc., so if you would<br />
like to know more biographical and cultural<br />
information about him and his times, you are<br />
welcome to look though it all. Thank you again<br />
for the precious story about Charlie, and for<br />
sending it to me. I will treasure it forever.<br />
Yours sincerely,<br />
Connie Walker<br />
Hendersonville, Tenn.<br />
Dear Editor:<br />
I hope you all are enjoying this holiday season.<br />
Thank you for the article you ran covering<br />
the New Horizon Agency, the help given by<br />
others, and the additional help needed for these<br />
adults with developmental disabilities, spoke so<br />
well of these needs. There have been many<br />
changes since then . . . My wish is that others in<br />
the music industry could open their hearts to<br />
help in the next year.<br />
Fondly,<br />
Yvonne Justis<br />
<strong>Nashville</strong><br />
(Editor’s note: Yvonne Justis is the widow of<br />
Local 257 member Bill Justis, remembered<br />
fondly for the mega-hit “Raunchy.”)<br />
Dear Walt:<br />
Congratulations on winning the Media<br />
Award at the Reunion Of Professional Entertainers.<br />
I’m sorry I didn’t get to tell you in person.<br />
Thanks for your congratulations to me (The<br />
<strong>Nashville</strong> Musician, October-December 2008<br />
issue) and The Time Jumpers! Also thank you<br />
for sending me a copy of the magazine. I don’t<br />
receive them any more since John has passed<br />
away. Thank you for your kindness. May God<br />
bless you.<br />
Sincerely,<br />
Jean Hughey<br />
Hendersonville, Tenn.<br />
Dear Editor:<br />
Ferlin (Husky) and I want to thank you for<br />
the great articles you did on us, and also thanks<br />
for the CD (plug). Ferlin was so proud, enclosed<br />
is my latest CD ‘Leona Williams: New Patches’<br />
for the Heart of Texas Records.<br />
Call us if you need anything. We love you,<br />
you’re the best.<br />
Sincerely,<br />
Leona Williams<br />
Vienna, Mo.<br />
(Editor’s note: True to their words, Ferlin<br />
expressed his feelings for us on the death of his<br />
former bandsman Walter Haynes, who once<br />
produced Leona. See page 11.)<br />
To Local 257:<br />
I want to thank Harold Bradley and Walt<br />
Trott for the kindness showed us when my husband<br />
Howard White, a Lifetime Member of the<br />
Union, died in October. However, my thanks<br />
go much further back in time than that.<br />
Having worked in this business we call music<br />
for many years, Harold, you were always<br />
there to help Howard and myself, whenever we<br />
needed you. I recall you once said, ‘Howard,<br />
when you need help, go to the top.’ We heeded<br />
that advice and were never sorry.<br />
Walt, you also have been a real friend to us<br />
and all musicians . . . No one could ever put<br />
their heart and soul into The <strong>Nashville</strong> Musician<br />
as you have.<br />
Best regards,<br />
Ruth B. White<br />
Gallatin, Tenn.<br />
(Editor’s note: Thank you Ruth, now where<br />
do I send the quarter for that compliment? Seriously,<br />
we’re all going to miss Howard, he was<br />
a top musician and a good friend. Our best to<br />
you and yours.)
12 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
NEW MEMBERS<br />
JEREMY ABSHIRE<br />
FDL GTR MDN VLA VLN VOC<br />
3204 WEST END CIRCLE UNIT #10<br />
NASHVILLE, TN 37203<br />
Hm-(330)-697-2070<br />
NORMAN E. AVEY<br />
(GENE AVERY)<br />
GTR PIA BAS DRM<br />
307 SOUTHBANK DRIVE<br />
AIKEN, SC 29803<br />
Hm-(803)-642-4040 Wk-(803)-522-3490<br />
MATTHEW PHILLIP BUBEL<br />
DRM PRC<br />
432 MOSS CREEK COURT<br />
NASHVILLE, TN 37221<br />
Hm-(615)-662-9091<br />
DANIEL CADE DOYLE<br />
(CADE DOYLE)<br />
GTR<br />
2134 FAIRFAX AVE APT B4<br />
NASHVILLE, TN 37212<br />
ROBERT H DURHAM<br />
(BOBBY DURHAM)<br />
BAS TBA GTR<br />
224 THEODORE ROAD<br />
NASHVILLE, TN 37214<br />
Hm-(615)-883-9664<br />
PAUL ANDREW ECKBERG<br />
(PAUL ECKBERG)<br />
DRM PRC<br />
1708 21ST AVE. SOUTH, STE. 112<br />
NASHVILLE, TN 37212<br />
Hm-(615)-445-4995<br />
DONALD EMRY FISHEL<br />
(DONALD E. FISHEL)<br />
FLT<br />
103 ARBOR RIDGE DRIVE<br />
ANTIOCH, TN 37<strong>01</strong>3<br />
JARED ETHAN HAUSER<br />
(JARED HAUSER)<br />
OBO<br />
2108B WEST LINDEN AVENUE<br />
NASHVILLE, TN 37212<br />
Hm-(615)-844-4115<br />
HENDERSON B.L. HOWELLS<br />
GTR VOC<br />
98 CASTLEGREEN PVT<br />
OTTAWA, ON K1T3N3<br />
Hm-(613)-523-2589<br />
ERIC ALBERT KAMBESTAD<br />
DRM<br />
109 OCEOLA AVENUE<br />
NASHVILLE, TN 37209<br />
Hm-(805)-674-5536<br />
VIKTOR KARL KRAUSS<br />
(VIKTOR KRAUSS)<br />
BAS<br />
1711 ASHWOOD AVENUE<br />
NASHVILLE, TN 37212<br />
Hm-(615)-269-3525<br />
HARLEY R. LAMOUREUX<br />
(HARLEY (COCONUT) LAMOUREUX)<br />
HRM<br />
258 NOEL DRIVE<br />
MT. JULIET, TN 37122<br />
Hm-(615)-754-5027 Wk-(615)-885-1058<br />
JAMES PHILIP LASSITER<br />
(PHILIP LASSITER)<br />
TPT KEY VOC<br />
816 KENDALL DRIVE<br />
NASHVILLE, TN 37209<br />
JAMES R MATEJEK<br />
GTR<br />
1405 CRABAPPLE COVE<br />
NASHVILLE, TN 37207<br />
Hm-(615)-793-5152<br />
STEVE L. MCCABE<br />
(STEVE MCCABE)<br />
BAS GTR KEY<br />
1529 KAMER DRIVE<br />
LAGRANGE, KY 40031<br />
Hm-(502)-222-6619<br />
STEVEN MCEWAN<br />
GTR<br />
446 3RD STREET APT. 4<br />
BROOKLYN, NY 11215<br />
Hm-(615)-383-3898<br />
AFM Local 257 members’ status<br />
DAVID J. THOMAS<br />
(DAVID JAMES THOMAS)<br />
PIA KEY<br />
470 JAMES WHITEFIELD ROAD<br />
BETHPAGE, TN 37022<br />
Hm-(615)-888-3816<br />
CARL OSCAR PHILIP UTTERSTROM<br />
(OSCAR UTTERSTROM)<br />
TBN BTB<br />
2421 CABIN HILL ROAD<br />
NASHVILLE, TN 37214<br />
Hm-(615)-397-8356<br />
MELVIN LEE WATTS<br />
(MEL WATTS)<br />
DRM<br />
2009 HUTTON DRIVE<br />
NASHVILLE, TN 37210<br />
Hm-(615)-428-2806 Wk-(615)-750-3155<br />
TERRY KARL WENDT<br />
STL<br />
2719 DONNA HILL DR<br />
NASHVILLE, TN 37214-1411<br />
Hm-(615)-885-6565 Wk-(615)-885-6565<br />
MEMBERS REINSTATED<br />
DANIEL A GRINDSTAFF<br />
CAROLYN H HUEBL<br />
S KIRK JOHNSON<br />
RONNIE MILSAP<br />
RAYMOND N RUSSELL<br />
DANNY D STONESTREET<br />
GUTHRIE TRAPP<br />
FELIX H WANG<br />
ROBERT C WOOTTON<br />
VICKY GAIL WOOTTON<br />
APPLICATION REVOKED<br />
ROGER DALE EATON<br />
PATTIE ELIZABETH HOPKINS<br />
DONNIE JAMES OWEN<br />
MICHAEL ROBERT WHITTAKER<br />
REVOKED BY FEDERATION<br />
WENDELL TERRY COX<br />
RESIGNED<br />
LAWRENCE P ATAMANUIK<br />
RICK BLANC<br />
CHRISTOPHER W BROOKS<br />
A.J. CLARK<br />
JUSTIN C CLARK<br />
RAYMOND L CONKLIN<br />
GEORGE HAROLD CUNNINGHAM<br />
MARK W EASTERLING<br />
TOD P ELLSWORTH<br />
KADE MARK FONTENOT<br />
TERESA ELAINE GAFFORD<br />
JAMES MARKUS HOLMAN<br />
GEORGE A MCCAIN<br />
JONATHAN F. NESTA<br />
BRANDON TREY PARR<br />
JOHN W RAGSDALE<br />
MARIE LOUISE RHINES<br />
CHARLES A ROBINSON<br />
KURT SCHUSTER<br />
BILL R. SCOTT<br />
SHAWN PHILLIP SUPRA<br />
TRUETT TIDWELL<br />
THOMAS DALE VANATTA<br />
PATRICK J WEICKENAND<br />
SUSPENDED LIST<br />
RICHARD S ADAMS<br />
WAYNE EDGAR ADDLEMAN<br />
KEVIN PETER ARROWSMITH<br />
MARTIN A AUCOIN<br />
SHANE D AVERY<br />
ALBERT DONALD BABYOK<br />
KELLY BACK<br />
ROBERT SCOTT BAGGETT<br />
LIAM THOMAS BAILEY<br />
DENISE ELAINE BAKER<br />
MICHAEL T BAKER<br />
KEN A BARKEN<br />
MAX T BARNES<br />
RAY LLOYD BARRICKMAN<br />
VINCE BARRANCO<br />
STEPHEN H BASSETT<br />
MARK W BATTLES<br />
ROBERT THADDEUS BEATY<br />
EDDIE CLAYTON BEDFORD<br />
JOHN MATTHEW BELL<br />
PHILLIP REECE BENEFIELD, II<br />
PATRICK W BERGESON<br />
PATRICIA DIANE BERRY<br />
JUSTIN DAVID<br />
JOHN DOUGLAS BILLINGS<br />
EMELYNE MARIE BINGHAM<br />
PAUL CARROL BINKLEY<br />
DAVID ROBERT BLAIR<br />
CHRISTINE A BONE<br />
LARRY L BORDEN<br />
KRISTEN JOY BOWERS<br />
GERALD ALAN BOYD<br />
RICHARD ALLEN BOYER<br />
GARY P BRANCHAUD<br />
MARTIN L BREGER<br />
VICTOR ERIK BRODEN<br />
STEPHEN R BROOKS<br />
SAMUEL EDWARD BUCHANAN<br />
BOB BURFORD<br />
JACOB CHARLES BURTON<br />
CHARLES DENNISON BUTLER<br />
JOEL DAVID BYERLEY<br />
SHAWN P. BYRNE<br />
STEVEN JACOB CALDWELL<br />
ROK CAMPBELL<br />
SPENCER TODD CAMPBELL<br />
JOHN WILLIAM CARROLL<br />
ROBERT AVERY CARR<br />
DOUG E CARTER<br />
JAMES P CARTER, JR<br />
JIMMY RONALD CARTER<br />
JOSHUA MICHAEL CARTER<br />
WALTER C CARTER, JR<br />
BOOMER O CASTLEMAN<br />
MICHAEL CASTEEL<br />
KATHERINE M CASWELL<br />
RALPH ED CHAMBLISS<br />
STEVEN RICHARD CHAPMAN<br />
KENNY A CHESNEY<br />
GARY C. CIRIMELLI<br />
JAMES C CLARK<br />
JACOB DOYLE CLAYTON<br />
SHAD B COBB<br />
ANGELO COLLURA, JR<br />
KEVIN DALE COLLIER<br />
MICHAEL C COMPTON<br />
JAMES ALEXANDER COOK<br />
STEVEN LOUIS COOK<br />
WILLIAM C COOK, JR<br />
BOH COOPER<br />
CAROL LEIGH COOPER<br />
WILMA LEE COOPER<br />
BRADLEY MATTHEW CORBIN<br />
GARY SCOTT COHEN<br />
PATRICIA ANN COSSENTINO<br />
JOHN E COWAN<br />
JOHN THOMAS CRAIN, JR<br />
RONNIE CRAIG<br />
DAVID ANTHONY CREASMAN<br />
LARRY DUANE CROWLEY<br />
MARTIN J CRUM<br />
Holiday closings set<br />
The following holidays will be observed by<br />
the Local 257 staff, therefore the Union offices<br />
will be closed on these dates:<br />
Easter Good Friday, April 10<br />
Memorial Day, Monday, May 25<br />
FINAL NOTES<br />
ROBERT DUANE CURETON<br />
RANDLE GORDON BOWDN CURRIE<br />
SMITH CURRY<br />
BENJAMIN ARNOLD DANIEL<br />
JEFFREY L DAVIS<br />
WILLIAM CARLOS DAVIS<br />
IRA LEE DEAN<br />
MICHAEL TROY DEARING<br />
GERALD BRUCE DEES<br />
HOLLIS R DELAUGHTER<br />
ALFRED V DELORY<br />
STANLEY DEMARCUS<br />
JAMES RONALD DEMPS<br />
JAMES B DIGIROLAMO<br />
MARTY RAY DILLINGHAM<br />
CHARLES KENNETH DIXON<br />
GABRIEL BARRY DIXON<br />
KRISTOPHER LEE DONEGAN<br />
CHRISTOPHER BRIAN DONOHUE<br />
REBECCA J. WILLIE<br />
JOSEPH BRIAN DOWD<br />
RICHARD W DOWNS<br />
STEPHEN DRAKE<br />
CHERI LYN DRUMMOND<br />
SCOTT A DUCAJ<br />
STEPHAN RALPH DUDASH<br />
GARY MICHAEL DUKE<br />
STEVEN ROBERT DUNCAN<br />
CHRIS E DUNN<br />
JOHN BENJAMIN ELSTON<br />
CHRIS EMERSON<br />
CHARLES J. ENGLISH<br />
TROY ANTHONY ENGLE<br />
EARL M ERB<br />
CYNTHIA ESTILL<br />
MATT DOUGLAS EVANS<br />
MARK STEVEN EVITTS<br />
GREGORY LEE EWEN<br />
JOSHUA NEIL FARRO<br />
DENNY FAST<br />
MIKE FEAGAN<br />
PATRICK H FLYNN<br />
CHARLES E FOWLKES<br />
CHRISTOPHER FRANZ<br />
DOUGLAS LEE FRASURE<br />
JUDD W. FULLER<br />
ROY REUBEN GABELEIN<br />
JUAN M GARCIA<br />
JOHN A GARSHNICK<br />
RICHARD WYATT GAY<br />
PHOEBE ABIGAIL GELZER-GOVATOS<br />
- Photo by Patricia Presley<br />
Members Jim Ed Brown and Vince Gill chat with<br />
fellow singer T. G. Sheppard (center) at a recent<br />
Reunion Of Professional Entertainers (ROPE)<br />
gathering at the Shriners Club in <strong>Nashville</strong>.<br />
(See additional ROPE photos, page 14.)<br />
(Suspended list continues on page 13<br />
The officers, staff and members of Local 257 extend our sympathies to the families and<br />
friends of our members who have passed. You are in our thoughts, hearts and prayers.<br />
DECEASED MEMBERS<br />
LIFETIME NAME Date Deceased Birth of Date Date Joined<br />
Y JIMMY G BAKER 10/05/2008 07/26/1933 08/19/1964<br />
BUTCH BALDASSARI <strong>01</strong>/10/2009 12/11/1952 02/02/1990<br />
Y WALTER HAYNES <strong>01</strong>/<strong>01</strong>/2009 12/14/1928 08/05/1950<br />
WILLIAM MILLSAPS <strong>01</strong>/26/2009 10/11/1948 07/24/1989<br />
Y REX E PEER 10/14/2008 04/<strong>01</strong>/1928 09/19/1969<br />
Y ROBERT D RIDLEY 11/16/2008 11/27/1922 08/25/1942<br />
CHARLES R SIMPSON 12/22/2008 09/23/1948 12/22/1977<br />
MIRIAM S SMITH 11/22/2008 04/26/1934 <strong>01</strong>/31/1974<br />
Y HOWARD O WHITE, JR 10/20/2008 03/26/1926 10/<strong>01</strong>/1952
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 13<br />
MATTHEW RYAN GILDER<br />
MARK A GILLESPIE<br />
GILLES ALELARD GODARD<br />
ALISON FELISE GOODING<br />
RICK W GOODMAN<br />
PETER JON GORDON<br />
RICK GORDON<br />
BURKETT GRAVES, JR<br />
THOMAS A GRAVES<br />
GEORGE LEWIS GRAY, III<br />
RANDALL HARRISON GRIFFITH<br />
DAWN MARIE HAFNER<br />
GREGORY MICHAEL HAGAN<br />
DANIEL LEE HAGEN<br />
TIMOTHY C HAINES<br />
JOHN M HALL<br />
KRISTEN ALISON HALL<br />
DONNA KAY HAMMITT<br />
LAKELYN RAE HARNAGE<br />
ROY MELVIN HARRIS<br />
WILLIAM L HARRISS<br />
DON ERWIN HART<br />
MICHAEL L HARTGROVE<br />
WALTER M HARTMAN<br />
DAVID W HARVEY<br />
DONALD FRANCIS HARVEY<br />
ROBERT B HATTER, JR<br />
JEFFREY TODD HAZARD<br />
TRACY MATTHEW HEASTON<br />
JAMES DARRELL HEDDEN<br />
WESLEY W HENLEY, JR<br />
DALE M HERR<br />
OWEN T HEWITT, JR<br />
RUSSELL HICKS<br />
DONALD EUGENE HILL<br />
KEITH W HINTON<br />
WARNER E HODGES<br />
NICK WILLIAM HOFFMAN<br />
MICHAEL KEVIN HOGAN<br />
PAUL D HOLLOWELL<br />
TOM L HOLLAND<br />
DEAN HOLMAN<br />
ERIC H HOLT<br />
JOSEPH ERIC HORNER<br />
KEITH M HORNE<br />
MARK EDWARD HORNSBY<br />
ROBERT WILLIAM HOSBACH<br />
JASON HOWARD<br />
DAVID L HUFF<br />
SCOTT MATTHEW HUFF<br />
WILLIAM T HULLETT<br />
NOAH JOSEPH HUNGATE<br />
JAMES E HURST<br />
PETER J HUTTLINGER<br />
JIM T HYATT<br />
JIM C ISBELL<br />
CHARLES L JACOBS<br />
JEFFERSON A JARVIS<br />
LARRY B JENTRY<br />
BILLY D JOHNSON<br />
DINA M JOHNSON<br />
DIRK JOHNSON<br />
GAIL RUDISILL JOHNSON<br />
JERRY RAY JOHNSTON<br />
ADAM LEE JONES<br />
EDWIN PAUL JONES<br />
GARRY R JONES<br />
JAN S JONES<br />
JASON DARRELL JORDAN<br />
JOSEPH DANIEL JUSTICE, III<br />
LUCAS KIERAN KANE<br />
JOHN P KEARNS<br />
SEAN MICHAEL KELLY<br />
SONYA FRANCES KELLY<br />
DONALD W KERCE, JR<br />
ALLISON KERR<br />
JOEL THOMAS KEY<br />
RHETT CODY KILBY<br />
RAY KIRKLAND<br />
EDWARD ALLEN KLANCNIK<br />
CRAIG DWAYNE KOONS<br />
WARREN CLAY KRASNER<br />
STEPHEN W KUMMER<br />
JIM LANCE<br />
KEITH H LANDRY<br />
RALPH E LAND<br />
TREY CHRISTOPHER LANDRY<br />
EDWARD LLOYD LANGE<br />
HOWARD HUGH LARAVEA<br />
MICHAEL H LATTIMORE<br />
MARY HELEN LAW<br />
JONATHAN BLAINE LAWSON<br />
RANDY PAUL LEAGO<br />
STEVE E LEDFORD<br />
MICHAEL A LEECH<br />
STEVE PORTER LESLIE<br />
JUSTIN EDWARD LEVENSON<br />
GORDON R. LEWIS<br />
NORA ANDERSON LEWIS<br />
RONALD L. LIGHT<br />
WESLEY LEE LITTLE<br />
DONALD SCOTT LLOYD<br />
TODD VINCENT LOMBARDO<br />
CLIFFORD EDWARD LONG<br />
ELIZABETH IRENE LONG<br />
JONATHAN ALAN LONG<br />
MARK JOSEPH LONSWAY<br />
TIMOTHY W LORSCH<br />
BRIAN CRAIG LOVE<br />
NED LUBERECKI<br />
RONALD LANZA LYNN<br />
FRANK JAMES MACEK<br />
PHILIP K MADEIRA<br />
KEVIN D MADILL<br />
MICHAEL D MAIOCCO<br />
RICHARD RYAN MALLOY<br />
THELMA LOUISE MANDRELL<br />
BRADLEY D MANSELL<br />
PIERLUIGI MARIANI<br />
KEVIN SELMAR MARKS<br />
WILLIAM CLAUDE MARSHALL, III<br />
DAVE RYAN MARTIN<br />
RICHARD MICHAEL MARTIN<br />
J D MARTIN<br />
ANTHONY J MARVELLI<br />
RANDY MASON<br />
MICHAEL E MCADAM<br />
JOHN LEO MCANDREW<br />
CAROL ANN MCCLURE<br />
CHERYL ANNETTE MCCLURE<br />
ERIC REID MCCLURE<br />
RODERICK D MCGAHA<br />
PATRICK WILLIAM MCGRATH<br />
PATRICK THOMAS MCINERNEY<br />
LUKE WILSON MCKNIGHT<br />
NELSON TODD MC SWAIN<br />
ELYSE NICOLE MATLOCK MCVEY<br />
JOE MEADOR<br />
JEREMY DOUGLAS MEDKIFF<br />
TIMOTHY R MENZIES<br />
GEORGE NEAL MERRICK<br />
ANTHONY P MIGLIORE<br />
MARK ANDREW MILLER<br />
ROBERT ANTHONY MINEO<br />
JOHN AARON MINICK<br />
BOBBY HOWARD MINNER, JR<br />
JOHN JOSEPH MOCK<br />
RONALD MONDY<br />
BRIAN WAYNE MOODY<br />
LANICE ROGER MORRISON<br />
DONALD EDWIN MOTT<br />
ALAN MUNDE<br />
JIMMY RAY MURRELL<br />
CELESTE MYALL<br />
DANIEL W MYRICK<br />
JAMES A NALLS, III<br />
DAVID CLARK NEAL<br />
SEAN EDWARD NEUKOM<br />
MILTON NEWMAN<br />
JONATHAN LEE NEWTON<br />
ANDREW BARRICK NIELSON<br />
JAMES MATTHEW NOLEN<br />
DAVID M NORTHRUP<br />
BRIAN KEITH NUTTER<br />
MARK OAKLEY<br />
REBECCA K OBOYLE<br />
JAMES ANDREW O'BRIEN<br />
DANIEL J O'LANNERGHTY<br />
MARY SUSAN OLESON<br />
MILDRED J OONK<br />
KRISTY JEANNE OSMUNSON<br />
ANNA REBECCA OWENS<br />
WILL OWSLEY<br />
DANIEL PAUL OXLEY<br />
LARRY KIM PARK<br />
MARTIN NEWBURY PARKER<br />
MICHAEL TODD PARKS<br />
ROBERT REES PATIN<br />
JAN MARIE PAULSON<br />
CHARLES ROBERT PAYNE<br />
GLENN WILLIAM PEARCE<br />
STEVE M PEFFER<br />
DAVID R PETERSON<br />
MATTHEW GUY PIERSON<br />
NOAM DAVID PIKELNY<br />
HOLLIE PAXTON POOLE<br />
JUAN ANTONIO PORTELA<br />
JIMMY R POWELL<br />
KENNETH EUGENE POWERS<br />
BENJAMIN JOSEPH PROBUS<br />
GEORGE PUCKETT<br />
MURRAY WILLIAM PULVER<br />
STEVE GAYLE PURCELL<br />
WILLIAM W PURSELL<br />
EUGENE JOSEPH RABBAI<br />
MELISSA KAY RAINES - SURRATT<br />
CARMELLA DAWN RAMSEY<br />
WESLEY KNOX RAMSAY<br />
HOLLY C RANG<br />
CHRIS MICHAEL RASPANTE<br />
MATT REASOR<br />
PHIL W REDMOND<br />
JARED SHADE REYNOLDS<br />
MARJORIE J RHOADS<br />
JOHN MATHEW RICHARDSON<br />
MICHAEL QUENTIN RINNE<br />
RICH RIPANI<br />
JIMMY RITCHEY<br />
JENAE MICHELLE ROGERS<br />
LARRY H ROLANDO<br />
JASON LEE ROLLER<br />
JOE DON ROONEY<br />
JERRY ROE RORICK<br />
PHILLIP JAMES ROSELLE<br />
JEFFREY ALAN ROSS<br />
RANKINE ROTH<br />
ZACH NATHANIEL RUNQUIST<br />
THOMAS O RUTLEDGE<br />
LYDIA SALNIKOVA<br />
JAMES T SANDEFUR<br />
PHILLIP DREHER SANDERS<br />
DAVID P SARTOR<br />
FRED THOMAS SATTERFIELD<br />
SCOTT SIMS SAUNDERS<br />
JUSTIN LANCE SCHIPPER<br />
CHRIS DAVIES SCRUGGS<br />
EUGENE J SENIBALDI<br />
AARON A. SHANE<br />
SHAUN A SHANKEL<br />
STEPHEN LOUIS SHEPHERD<br />
BAEHO BOBBY SHIN<br />
STAN D SHORT<br />
MARTIN W SHRABEL<br />
JEFFREY D SIMO<br />
SCOTT SIMPSON<br />
STEPHEN JAMES SINATRA<br />
HANK SINGER<br />
LES SINGER<br />
DOUGLAS A SISEMORE, JR<br />
DAVE ERIC SMITH<br />
HARRY LEE SMITH, III<br />
LINDSEY ALLISON SMITH-TROSTLE<br />
TOM SMITH<br />
JOSEPH SMYTH, III<br />
DAN E SPEARS<br />
JOHN PATRICK SPITTLE<br />
E BLAINE SPROUSE<br />
ROBERT BARKER STAMPS, JR<br />
DAWN ELIZABETH STEPHEN<br />
TONY LADON STEPHENS<br />
RYAN A. STILES<br />
ALAN STOKER<br />
BUDDY R. STRICKLAND<br />
STEPHEN GLEN STURM<br />
GARY WAYNE TALLEY<br />
FELIX COWAN TAPP<br />
JERRY W TATE<br />
MICHAEL BRANDEN TAULBEE<br />
STEVE TAYLOR<br />
SHANE MICHAEL THERIOT<br />
MARK F THOMPSON<br />
STEVEN CRAWFORD THOMAS<br />
TIMOTHY J THOMPSON<br />
JAMES R THREET<br />
ANNE MARIE THURMOND<br />
CHARLES D TILLEY<br />
ALEXANDER LOWELL TIPPING<br />
LOUIS TOOMEY, JR<br />
ED TOTH<br />
DANIEL TRAVIS TOY<br />
WILLIAM TRIMARCO<br />
JAMES T TRITT<br />
ERIC GRAHAM TUCKER<br />
ROBBY O TURNER<br />
GARY LEE TUSSING<br />
CHRISTOPHER MICHAEL TUTTLE<br />
MIKE M ULVILA<br />
CHARLES L VAUGHAN<br />
WILLIAM B VERDIER<br />
KEVIN ANTHONY VICALVI<br />
DARRIN LEE VINCENT<br />
ROY CHARLES VOGT<br />
RAYMOND VON ROTZ<br />
TED WAGNER<br />
BERNARD WALKER<br />
LOIS JEAN WATHEN<br />
MACK A WATKINS<br />
WILLIAM DARRELL WEBB<br />
JONATHAN DAVID WEISBERGER<br />
KEVIN S WELCH<br />
PAMELA G WESTON<br />
BRUCE WETHEY<br />
DONALD LLOYD WHITE<br />
JAMES A WHITING<br />
WILLIAM MONROE WHITE, III<br />
STEPHEN D WILKINSON<br />
JAKE WILLEMAIN<br />
JOSHUA WILLIAMS<br />
JUSTIN G WILLIAMSON<br />
LINDSEY B WILLIAMS<br />
ALBERT E WILSON<br />
BRENT LLOYD WILSON<br />
HARVEY E WILSON, JR<br />
RANDALL EDWARD SHAW WILSON<br />
WILLIAM ROBERT WILSON<br />
WENDY LEE WILSON<br />
WILLIAM DAVID WOOD<br />
MICHAEL ERIN WOODY<br />
SAMUEL CARL WRAY<br />
JASON D YOUNG<br />
PETER DONALD YOUNG<br />
DENNIS H ZIMMERMAN<br />
MR ZORO<br />
George Jones (right rear) was in fine company in<br />
receiving the 2008 Kennedy Center Honors<br />
in Washington, D.C. on Dec. 7. Fellow honorees<br />
are Twyla Tharp, Morgan Freeman, Barbra<br />
Streisand, and (back) The Who musicians<br />
Roger Daltrey and Pete Townshend.<br />
Jack Jezioro receives 25-year pin from then<br />
President Harold Bradley at the Union hall.<br />
Larry Tucker (with wife Cheryl) receives 25-year<br />
pin from Secretary-Treasurer Billy Linneman.<br />
Parton’s star still sparkling<br />
Congratulations to AFM Local 257 superstar<br />
Dolly Parton on being named to the Gospel<br />
Music <strong>Association</strong>’s Gospel Music Hall of<br />
Fame, officially inducted Feb. 2 at the Richland<br />
Country Club in <strong>Nashville</strong> . . . Meanwhile,<br />
Dolly’s awaiting the opening of her stage musical,<br />
based on her hit song and movie “9 To<br />
5,” currently scheduled to debut on Broadway,<br />
New York City’s Great White Way, in April.<br />
Dolly Parton<br />
- (2) Photos by Kathy Shepard
14 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
<strong>Musicians</strong>’ Hall of Fame inductees lauded<br />
(Continued from page 1)<br />
played in clubs and such, wanted to sound like.<br />
“The <strong>Musicians</strong>’ Hall of Fame is long overdue.<br />
It took one individual who had the vision -<br />
while others profess it’s a good thing, and could<br />
have made it happen - it took a good guy like<br />
Joe Chambers, who had the passion, to do it,"<br />
continued Lee. “He made it happen - the <strong>Musicians</strong><br />
Hall of Fame - thank God for Joe Chambers.”<br />
Throughout the course of the evening, presenters<br />
and recipients alike paid homage to<br />
Chambers, himself a musician-songwriter-entrepreneur,<br />
who founded the Hall of Fame &<br />
Museum here in 2006. His mission was to see<br />
those mainly behind-the-scenes luminaries finally<br />
recognized publicly for their lasting contributions<br />
to their musical art form.<br />
Country diva Barbara Mandrell got things<br />
moving. She introduced the first recipient, producer<br />
Billy Sherrill, who could paper studio<br />
walls with his BMI writer awards, having<br />
earned more than 50 for #1 hits alone, plus dozens<br />
of platinum and gold records as producer.<br />
Among artists Sherrill introduced to the big time<br />
are Mandrell, David Houston, Tammy Wynette,<br />
Tanya Tucker, while also reviving careers for<br />
notables like Charlie Rich and George Jones.<br />
What did the man who wrote and/or produced<br />
the classics “Almost Persuaded,” “My Elusive<br />
Dreams,” “A Very Special Love Song,” “Stand<br />
By Your Man” and “He Stopped Loving Her<br />
Today,” have to say?<br />
“I’ve always felt that I never had a job, because<br />
I enjoyed what I was doing so much,”<br />
Sherrill mused, adding upon accepting his statuette,<br />
“Whatever I did, I did it with the greatest<br />
musicians.”<br />
Jones seized the moment to honor the man<br />
called “The Little Genius” by reprising his<br />
comeback classic “He Stopped Loving Her Today,”<br />
a song cut 28 years ago, garnering a<br />
Grammy, and CMA and Academy of Country<br />
Music best vocal honors for him.<br />
Lee Ann Womack chose to salute Sherrill<br />
singing his co-write “Till I Can Make It On My<br />
Own” (a 1976 charttopper for the late Tammy<br />
Wynette) and nailed it. Stepping up to fill in for<br />
Ronnie Milsap who had to cancel his appearance<br />
honoring Sherrill, by singing “Behind<br />
Closed Doors,” was newcomer Randy Houser.<br />
“I was just amazed to be the guy they called<br />
at the last minute . . . it was an honor to be a<br />
part of this ceremony,” said Houser. “I’m such<br />
a fan of the musicians represented tonight.”<br />
Kix Brooks (of Brooks & Dunn), who added<br />
commentary during the awards show, stressed,<br />
“<strong>Nashville</strong> is lucky to have the <strong>Musicians</strong>’ Hall<br />
of Fame & Museum. Visit after visit, the well<br />
never runs dry.”<br />
Duane Eddy, the pop guitarist who bumped<br />
king Elvis Presley off the 1960 popularity poll<br />
for #1 rock & roll personality, thanks to his<br />
twangy, trademark tone, boasted one of the most<br />
identifiable sounds to emerge from the 1950s.<br />
A member of the Rock & Roll Hall of Fame<br />
(since 1994), Eddy’s the force who first put the<br />
musician out in front. Not only was he hailed<br />
for his contributions, but Eddy did some entertaining<br />
himself (assisted by supporting bandsmen<br />
led by Charlie McCoy), treating listeners<br />
to his distinctive vibrato bar techniques, performing<br />
hits like “Rebel Rouser” and “40 Miles<br />
of Bad Road” (punctuated by a soaring sax).<br />
Momentarily Duane turned the spotlight onto a<br />
favorite accompanist, guitarist Corki O’Dell,<br />
labeling her the “first side-chick in rock & roll,”<br />
adding, “Corki, you’ll always be in my personal<br />
Hall of Fame.” (See separate story, page 17.)<br />
Music scribes chronicled The Crickets as a<br />
primary influence on The Beatles, and guest<br />
host rhythm-guitar stylist Keith Richards acknowledged<br />
his own group The Rolling Stones<br />
owed a similar debt to the American band that<br />
earned its first accolades backing frontman<br />
Buddy Holly. Richards joined them in performing<br />
“Peggy Sue” on stage, while Phil Everly<br />
did the same for “Let It Be Me,” a hit the Crickets<br />
backed the Everly Brothers on in 1960. Also<br />
heard were “That’ll Be the Day” and “Not Fade<br />
Away,” before their career awards came to<br />
Crickets’ Jerry Allison (drums), Joe Mauldin<br />
(bass) and Sonny Curtis (lead vocals, guitar).<br />
Keith exclaimed, “This unit turned us all<br />
on!”<br />
Guitarist Al Kooper, suffering from diabetes,<br />
was unable to accept his induction statuette<br />
in person, sending manager David Spero instead.<br />
Back in Boston, Kooper heard the resounding<br />
applause over Spero’s cell phone.<br />
Spero said in part, “He is so proud of this because<br />
it’s about musicians and not about politics!”<br />
Kooper formed Blood, Sweat & Tears, produced<br />
such rockers as Lynyrd Skynyrd, and is<br />
remembered for his distinctive organ riffs on<br />
Bob Dylan discs and concerts, as well as performances<br />
with The Who, B. B. King, Jimi<br />
Hendrix and The Rollling Stones, among others.<br />
Honoring Al, too, was former Lynyrd<br />
Skynyrd guitarist Ed King, who co-wrote their<br />
More awards: Reunion of Professional Entertainers’ best of 2008<br />
Razzy Bailey congratulates ROPE business award<br />
winner Shelby Singleton of Sun Entertainment.<br />
Grand Ole Opry veteran Jimmy C. Newman<br />
was voted ROPE’s top entertainer for 2008.<br />
Note: Attend the next General Membership Meeting, slated<br />
at 6:30 p.m. Wednesday, March 18. Participate in your Union,<br />
and support your Local 257 leaders.<br />
anthem “Sweet Home, Alabama” and joined<br />
L.S. in the 2006 Rock & Roll Hall of Fame.<br />
A newcomer, Melinda Doolittle recreated<br />
some of the soulful magic originated by Aretha<br />
Franklin recording with the Muscle Shoals’<br />
Rhythm Section, another studio band being inducted<br />
in the Class of ’08. Singing “I Never<br />
Loved a Man (The Way I Loved You)” -<br />
Franklin’s first million-seller (1967) - Doolittle<br />
showed us she's gonna do a lot in this business.<br />
A highlight of the evening’s performances,<br />
however, was Percy Sledge’s showstopping rendition<br />
of his #1 million-seller “When a Man<br />
Loves a Woman,” which he also wrote (1966),<br />
boasting musical backing by the Muscle Shoals’<br />
boys.<br />
“I just knew I had to be here tonight,” said<br />
Sledge, ending on his knees paying homage to<br />
the boys who made the noise. (Sledge himself<br />
was enshrined in the Rock Hall of Fame in<br />
2005.)<br />
Kid Rock kicked off a rousing version of<br />
the old Bob Seger song “Old Time Rock &<br />
Roll” (1979), a smash hit when K.R. was but 8<br />
years old. Inductees for the Alabama-based<br />
Muscle Shoals Rhythm Section: Jimmy<br />
Johnson (guitar), Roger Hawkins (drums),<br />
David Hood (bass) and Barry Beckett (keyboards);<br />
along with Friends: Spooner Oldham,<br />
Clayton Ivey, Randy McCormick, Will<br />
McFarlane and Pete Carr.<br />
“Talk about a charmed life,” sighed Memphis<br />
Horn trumpeter Wayne Jackson. “I have<br />
had one - starting with when I met Andrew Love<br />
(tenor sax) 45 years ago . . . Tonight is special.<br />
George Jones kisses producer-pal Billy Sherrill.<br />
Scat Springs and Percy Sledge, right,<br />
at the <strong>Musicians</strong> Hall of Fame induction.<br />
For additional award<br />
night pictures, check out<br />
the International<br />
<strong>Musicians</strong>’ Hall of Fame<br />
& Museum’s website via<br />
musicianshalloffame.com<br />
Thank you from the bottom of our hearts.”<br />
Love, seated in his wheelchair beside Jackson,<br />
raised his trophy for all to see. The Memphis<br />
Horns played on more than 120 Top 40 recordings<br />
backing such icons as Isaac Hayes, Otis<br />
Redding, Rufus Thomas and Sam & Dave. Reportedly,<br />
the duo appeared on just about every<br />
disc the historic Stax Record label issued.<br />
Another important Memphis Sound exponent<br />
was Booker T & The M.G.s, whose membership<br />
consisted of keyboard whiz Booker T.<br />
Jones, ace drummer Al Jackson, innovative<br />
bassist Donald (Duck) Dunn, and guitar god<br />
Steve Cropper. The latter inductee took the occasion<br />
to thank dad for encouragement: “Thomas<br />
Cropper, sitting out there in Row G did<br />
that, he bought me a good guitar.” The audience<br />
stood in respect for father and son.<br />
In addition to backing Stax artists like Eddie<br />
Floyd - who joined them here to do his 1966 #1<br />
“Knock On Wood” - The MGs (stands for Memphis<br />
Group) scored on their own Stax solo releases,<br />
notably their instrumental Gold Record<br />
“Green Onions,” which they repeated for an appreciative<br />
crowd.<br />
Inductees are nominated nationally by the<br />
<strong>Musicians</strong> Union membership of 90,000-plus,<br />
along with a stellar list of eminent music industry<br />
professionals. Chambers stated, “I would<br />
like to thank everyone for their continued support<br />
of the <strong>Musicians</strong>’ Hall of Fame & Museum<br />
. . . You’ve heard these instruments played all<br />
your life. We invite you to take the time to<br />
‘Come see what you’ve heard.’”<br />
- Walt Trott<br />
Rolling Stone Keith Richards backstage.<br />
PHOTOS BY PATRICIA PRESLEY<br />
Performer Percy Sledge and M.C. ‘Babs’ Mandrell.<br />
Phil Everly congratulates winner Duane Eddy.
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 15<br />
Steel Guitar Hall of Famer Brumley, 73<br />
Noted steel guitar player Tom Brumley, 73,<br />
died Feb. 3, at the Northeast Baptist Hospital<br />
in San Antonio, Texas, following a heart attack.<br />
Brumley, son of renowned gospel composer<br />
Albert Brumley of “I’ll Fly Away” fame, can<br />
be heard on such classic country cuts as Buck<br />
Owens’ “I’ve Got a Tiger By the Tail,” Ricky<br />
Nelson’s “Garden Party” and Dwight Yoakam’s<br />
“I Sang Dixie.”<br />
A Lifetime Member of AFM Local 257,<br />
Brumley is also a member of the International<br />
Steel Guitar Players’ Hall of Fame, and from<br />
1963-’69 performed in Owens’ award-winning<br />
band The Buckaroos. Of their seven solo Billboard-charted<br />
Capitol albums, the band’s best<br />
sellers were the Top 10 “The Buck Owens Song<br />
Book” (1965), followed by “America’s Most<br />
Wanted Band” and “Buck Owens’ Buckaroos<br />
Strike Again!” They also charted two Top 40<br />
singles, “I’m Comin’ Back Home To Stay”<br />
(1968) and “Nobody But You” (’69), both written<br />
by Buckaroo Don Rich.<br />
Brumley’s death leaves drummer Willie<br />
Cantu as the last surviving Buckaroo. The band<br />
was voted tops by the Academy of Country<br />
Music annually from 1965-’68; CMA, 1967-<br />
’68; Music City News’ 1967-1970, and in 1966<br />
Brumley took home ACM’s steel player trophy.<br />
The steel guitarist also spent 10 years with<br />
Rock & Roll Hall of Famer Ricky Nelson’s<br />
Stone Canyon Band, and appears on such albums<br />
as Nelson’s “Live At the Troubadour”<br />
(1969). Tom’s distinctive guitar stylings, known<br />
at the “Brumley Touch,” has influenced both<br />
country and rock pickers for nearly five decades.<br />
Thomas R. Brumley was born Dec. 11,<br />
1935, the son of Goldie and Albert E. Brumley<br />
in Stella, Mo. The senior Brumley wrote hundreds<br />
of inspirational songs, among them “I<br />
Heard My Name On the Radio, “I’ll Meet You<br />
In the Morning” and “Turn Your Radio On.”<br />
At age 14, Tom began playing bass in his<br />
brothers’ band, performing at functions and radio<br />
stations throughout the Missouri area. In<br />
1954, he began playing on steel guitar and<br />
dobro.<br />
During the mid-1950s, Brumley served two<br />
years in the U.S. Army, including a stint in West<br />
Germany. In 1963, Tom joined Owens’ band,<br />
which became one of the best in the business,<br />
helping Buck chalk up a string of 21 #1 songs<br />
and named top artist of the 1960s.<br />
Country Hall of Famer Owens, of course,<br />
helped give birth to the Bakersfield Sound,<br />
boasting high energy, heavy beat and plenty of<br />
steel.<br />
Following Nelson’s death in 1985, Tom also<br />
backed the Desert Rose Band three years, and<br />
performed on such artist discs as those of Merle<br />
Haggard, Glen Campbell, Steve Wariner, <strong>Jan</strong>ie<br />
Fricke, Waylon Jennings, Rod Stewart, Reba<br />
McEntire, Ray Price, Rosie Flores, Chris Isaak<br />
and Martina McBride.<br />
From 1989-2003, he presented The Brumley<br />
Family Show in Branson, Mo., performing with<br />
his sons and the participation of his daughter.<br />
Tom, who also owned the ZB Custom Steel<br />
Guitar Company in Austin, Texas, moved to San<br />
Antonio last year. He was an inductee into the<br />
Texas Steel Guitar Hall of Fame, and in 2004<br />
received the Jerry Byrd Lifetime Achievement<br />
Award.<br />
Survivors include Rolene, his wife of 48<br />
years; sons Tom and Todd; and daughter Tracie;<br />
six grandchildren and a great-grandson; brothers<br />
Jackson, Albert Jr., and Bob; and sister<br />
Betty Pockrus. A Celebration of Life was conducted<br />
at the Baldknobbers Country Music<br />
Theater, Feb. 15, in Branson, Mo.<br />
- Walt Trott<br />
Patty ‘s pickin’ on<br />
country’s classics<br />
The 19th Patty Loveless album “Sleepless<br />
Nights” attests to the fact she’s still one of the<br />
top traditional talents around.<br />
CD REVIEW<br />
Usually we don’t favor covers, but listening<br />
to her memorable interpretations on timeless<br />
tunes, a la Hank Williams’ “Cold, Cold<br />
Heart,” Carl & Pearl Butler’s “Don’t Let Me<br />
Cross Over” and Conway Twitty’s first #1 country<br />
hit “Next in Line,” drew us right into a captivating<br />
presentation.<br />
Producer (hubby) Emory Gordy, Jr., also deserves<br />
plaudits for a job well done on what<br />
might have been a risky project. Obviously, he<br />
engages only the best backup musicians for his<br />
(Quad) Studio time, and this CD’s no exception.<br />
Listening to the spirited playing by such as<br />
pianists John Hobbs and Pig Robbins; drummer<br />
Harry Stinson; guitarists Biff Watson, Steve<br />
Gibson, Guthrie Trapp, Harold Bradley and<br />
Gordy; fiddlin’ Deanie Richardson (also heard<br />
on mandolin); Billy Linneman on walkin’ bass;<br />
and steel guitarists Pete Finney and Al Perkins,<br />
you know they relished having a go at these<br />
familiar tunes. Sharing in the fun by providing<br />
backup harmonies are the likes of Vince Gill,<br />
Virgie Lee, Jedd Hughes, Sydni Perry, Jim Iler<br />
and Carmella Ramsey.<br />
Writer Holly Gleason, who penned the liner<br />
notes, sums it up succinctly: “These songs are<br />
classics for a reason. Not just for what they say,<br />
who recorded them, who wrote them, but because<br />
of the emotional charge they carry.”<br />
Loveless says, “I felt like I could dip into<br />
my own soul” - and in doing so doesn’t miss a<br />
beat - explaining further: “That’s what makes<br />
country music stand out. ‘Don’t Let Me Cross<br />
Over’ is a cheatin’ line . . . it’s something we’re<br />
not supposed to do, yet it happens . . . for a lot<br />
of different reasons, maybe. But it’s real.”<br />
And so is Patty as she embraces these roots<br />
songs that pay homage to her yesteryear heroes,<br />
like Hank Locklin, “Please Help Me I’m Falling”;<br />
Skeeter Davis (and Betty Jack) via “I Forgot<br />
More Than You’ll Ever Know”; Jack<br />
Greene, “There Goes My Everything”; and<br />
Webb Pierce, “There Stands the Glass,” as well<br />
as to the writers who helped create such gems.<br />
There are 14 ballads total, all technically recorded<br />
by award-winning engineer Justin<br />
Niebank, giving buyers more than their money’s<br />
worth. For the record, when we filed our 2008<br />
year-end Top Five best country CDs, for UK’s<br />
Country Music People magazine’s annual critics<br />
survey, “Sleepless Nights” was near the top<br />
of our list. - Walt Trott<br />
Members reminder<br />
Attend the next General Membership<br />
Meeting, 6:30 p.m. Wednesday,<br />
March 18 at Cooper Hall.<br />
Whatever happened to Randolph Scott?<br />
That was what the Reid brothers pondered<br />
back in 1974 on the Statlers’ Top 20 ode to yesteryear<br />
cowboy heroes.<br />
In their medium-tempo tune, Don and<br />
Harold also lyricized about Scott’s singin’ cowboy<br />
contemporaries Gene Autry, Roy Rogers,<br />
Rex Allen and Tex Ritter, as they rhapsodied<br />
about the big screen’s good guys in white hats.<br />
Now, Sony/BMG’s Legacy series boasts a<br />
cherry-picked, 50-track homage to<br />
America’s Western legacy, titled “Boots,<br />
Buckles & Spurs,” a three-disc box-set featuring<br />
an all-star cast.<br />
Among the expected ballads are Gene Autry’s<br />
radio theme “Back In the Saddle Again,” Patsy<br />
Montana’s “I Want To Be a Cowboy’s Sweetheart,”<br />
Roy Rogers & The Sons of the Pioneers’<br />
“Stampede,” and an instrumental offering “Farr<br />
Away Stomp” by Local 257 pickers Riders In<br />
the Sky (penned by the Farr brothers).<br />
As the 20th century drew to a close, the<br />
screen’s King of the Cowboys (Rogers) teamed<br />
with contemporary “cowboy” Clint Black for<br />
“Hold On Partner.” Also showcased are<br />
Lonestar (“When Cowboys Didn’t Dance”),<br />
Montgomery Gentry (“Wanted Dead Or<br />
Alive”), The Highwaymen (“Silver Stallion”),<br />
Charlie Daniels (“Bull Ridin’ Son Of a Gun”),<br />
and Tracy Byrd (“No Ordinary Man”).<br />
We missed the usual recording dates for<br />
each track, at least they’re not listed on our advance<br />
copy of cuts. The more familiar tracks<br />
we knew, like “ . . . Cowboy’s Sweetheart” recorded<br />
by Patsy with The Prairie Ramblers in<br />
1935; Bob Wills’ 1941 “Dusty Skies”; Sons Of<br />
the Pioneers’ later 1948 RCA cut “Tumbling<br />
Tumbleweeds” (though their original ’34 Decca<br />
pop hit was with Roy); and George Strait’s Top<br />
Fiver “I Can Still Make Cheyenne” surfacing<br />
in 1996. A really recent track is Brooks &<br />
Dunn’s “Cowboy Towne” (2007), chosen as the<br />
official theme at the 50th anniversary of the<br />
National Finals Rodeo in Las Vegas last December<br />
(which offers competing cowboys a<br />
total payout of some $5.6 million), making it<br />
the World Series of rodeos.<br />
Good liner notes, too, by Neal Reid, Pro-<br />
Rodeo Sports News editor, enhancing a select<br />
variety of numbers performed by some true<br />
practitioners of the cowboy song, among these<br />
Canadian rancher Ian Tyson, whose credits include<br />
“Four Strong Winds” and “Someday<br />
Soon,” here singing “Leavin’ Cheyenne”; cowboy-turned-troubadour<br />
Chris LeDoux vocalizing<br />
a rodeo-themed “Hooked On An 8-Second<br />
Ride”; and Red Steagall, a Texan who created<br />
the anthem “Lone Star Beer & Bob Wills’ Music,”<br />
here singin’ why “I Was Born To Be a Cowboy.”<br />
Michael Martin Murphey, who hails from<br />
Dallas, hit big pop in 1975 with his #3 millionselling<br />
single “Wildfire,” revived here, along<br />
with “Born To Buck Bad Luck.” Robert Earl<br />
Keen also bucks in his number “That Buckin’<br />
Song,” which when heard over the airwaves<br />
sounds like another word, explaining why it<br />
didn’t do much on radio.<br />
Not especially known for cowboy singles,<br />
but contributing worthy songs to this set are<br />
such as Tanya Tucker, “Rainbow Rider”;<br />
Rodney Crowell, “Even Cowgirls Get the<br />
Blues”; Craig Morgan “Cowboy and Clown”;<br />
and Jessi Colter, “My Cowboy’s Last Ride.”<br />
Appropriate, too, are Eddy Arnold’s classic<br />
“Cattle Call,” Elton Britt’s “Patent Leather<br />
Boots,” Johnny Cash’s “Rodeo Hand,” Marty<br />
Robbins’ “Strawberry Roan,” Lynn Anderson’s<br />
“Ride, Ride, Ride” and Moe’s heart-tugger<br />
“Bandy the Rodeo Clown.” Nice surprises are<br />
Don Walser’s “Cowpoke,” Trent Willmon’s<br />
“Ropin’ Pen,” Don Edwards’ “Coyotes” and<br />
The Outlaws’ rockin’ “Ghost Riders in the Sky.”<br />
Couldn’t complete this without Outlaws’<br />
Waylon & Willie serenading “Mamas, Don’t Let<br />
Your Babies Grow Up To Be Cowboys,” plus<br />
“My Heroes Have Always Been Cowboys.”<br />
Mine, too, Willie. - Walt Trott<br />
Fire claims dog’s life<br />
Local 257 President Dave Pomeroy experienced<br />
tragedy on the day after being sworn-in<br />
at the <strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong>.<br />
Amidst moving into his new office on <strong>Jan</strong>.<br />
3, a blaze broke out at his home, claiming the<br />
life of his beloved dog Duke.<br />
According to Dave, “As I was moving into<br />
my office . . . I got a call from my neighbor<br />
saying that my house appeared to be on fire and<br />
that he had already called the fire department. I<br />
rushed over and five minutes later, I was standing<br />
in my yard helplessly watching three trucks<br />
and many firemen trying to extinguish an obviously<br />
big blaze inside the house. I knew immediately<br />
that my beautiful beloved dog Duke<br />
could not have survived the smoke. I will never<br />
get over the shock and loss of such an amazing<br />
animal and incredible friend, and while I cry at<br />
his loss, I will always treasure his memory.”<br />
Apparently faulty wiring beneath the living<br />
room triggered the fire that also engulfed some<br />
of his instruments, destroying them, while others<br />
suffered some smoke damage.<br />
Despite the ordeal, Dave kept a stiff upper<br />
lip: “I'll be fine,” he told The Tennessean’s reporter<br />
Beverly Keel. “I’ve got insurance, and<br />
I’ve got friends. If somebody wants to help me,<br />
just be good to Room In The Inn and homeless<br />
people everywhere, because I've got a home.”<br />
Of course, Room In The Inn is a non-profit<br />
organization assisting <strong>Nashville</strong>’s homeless.<br />
When we offered our condolences, Dave replied<br />
that he was inspired by the outpouring of<br />
affection, offers and sympathy from neighbors,<br />
friends and family, noting that indeed it was<br />
their support that sustained him throughout.<br />
“A couple of my irreplaceable instruments<br />
(‘The Beast’ electric upright and my childhood<br />
Gibson EB-2) were miraculously OK due to<br />
their position in the house and hard shell cases,<br />
but many others have been severely damaged<br />
or lost altogether.The main studio room is<br />
smoke damaged but hopefully structurally OK.<br />
Time will tell what gear is fixable.”<br />
Dave and Duke.
16 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2008<br />
Dan Tyminski scores both as team player and soloist<br />
By WALT TROTT<br />
Dan Tyminski may hail from the Green<br />
Mountain State of Vermont, but bluegrass<br />
claimed his heart many years ago.<br />
“Wheels,” only his second solo album, became<br />
one of the best musical surprises of 2008.<br />
(Reviewed in the last issue of this newspaper,<br />
the album has since garnered a best bluegrass<br />
Grammy nomination.)<br />
It made its June debut on the Billboard<br />
bluegrass chart at #1.<br />
During our interview on the day before<br />
Thanksgiving, Dan indeed agreed he had lots<br />
to be thankful for, not the least of which is family,<br />
fans, fellow pickers and musical fare.<br />
For “Wheels,” singer-musician-producer<br />
Tyminski has surrounded himself with a wealth<br />
of talent that includes Adam Steffey, mandolin;<br />
Barry Bales, stand-up bass; Ron Stewart,<br />
banjo/fiddle; and newcomer Justin Moses,<br />
dobro/fiddle/banjo, plus guest artists Ron Block,<br />
rhythm guitar; Vince Gill, tenor vocals; Cheryl<br />
and Sharon White, harmony vocals.<br />
We talked about all of the above, plus the<br />
fact that despite recording solo and touring on<br />
behalf of his sophomore CD, he’s still very<br />
much a player in Alison Krauss’ award-winning<br />
Union Station band. Dan’s an earnest and polite,<br />
but down-to-earth sort, seemingly with a<br />
sly sense of humor.<br />
At the time of our chat, Union Station was<br />
on hiatus as Alison toured with English rocker<br />
Robert Plant (of Led Zeppelin fame), promoting<br />
their surprise-hit duet album “Raising<br />
Sand,” a project in itself that has generated a<br />
number of award nominations.<br />
“We’ll get back together this next year<br />
(2009) to start working up some new music as<br />
soon as we can, then go back into the studio<br />
again,” explains Dan. “Gosh, I don’t know just<br />
how soon it will be before we’ll tour, but it won’t<br />
be until we get an album out.”<br />
In 2000, Dan’s pure country-bluegrass voice<br />
came to the attention of Hollywood and T-Bone<br />
Burnett for the “O Brother, Where Art Thou?”<br />
movie soundtrack. Tyminski supplied vocals for<br />
leading man George Clooney as a Soggy Bottom<br />
Boy in the Depression era satire (while<br />
actors John Tuturro and Tim Blake Nelson<br />
rounded out the trio).<br />
Brothers Ethan and Joel Coen’s film<br />
“sleeper” was a box office bonanza and its<br />
soundtrack album won numerous awards, including<br />
a Grammy for Dan, and was #1 on both<br />
pop and country charts many weeks despite little<br />
radio airplay.<br />
More importantly, it became a cultural milestone<br />
for bluegrass, broadening its popularity<br />
much as John Travolta’s “Urban Cowboy” did<br />
for outlaw music two decades earlier.<br />
In vocals as pure as a mountain stream, Dan<br />
sang, “I am a man of constant sorrow/I’ve seen<br />
trouble all my days/I bid farewell to old Ken-<br />
Dan Tyminski attends autograph session.<br />
Dan digs being sideman in Alison Krauss’ Union Station (above with bassist Barry Bales).<br />
tucky/The state where I was borned and raised<br />
. . .”<br />
On the strength of the “O Brother” phenomenon<br />
and his electrifying performance on the<br />
“I Am a Man Of Constant Sorrow” ballad, Dan<br />
also earned multiple best vocalist awards, CMA<br />
best single and album, and was urged to set out<br />
on his own path to stardom.<br />
Instead, Dan chose to remain outside the star<br />
spotlight, preferring to play guitar and add vocal<br />
harmonies to Alison Krauss’ Union Station<br />
gigs as bandsman.<br />
“I’d somehow accepted that the mainstream<br />
wouldn’t find bluegrass appealing. Somewhere<br />
deep down, that’s my biggest thrill. I had probably<br />
gotten to the point where I had given up<br />
hope that the kind of music I play would ever<br />
be accepted by the masses,” mused the bearded<br />
balladeer.<br />
During an earlier hiatus, he had cut a solo<br />
album of downhomey songs, “Carry Me Across<br />
the Mountain” (released in 2000), drawing favorable<br />
reviews. Still, Dan stayed with Station.<br />
So why do a follow-up CD some seven years<br />
later?<br />
“Understand, it’s never been in the forefront<br />
of what I wanted to do, to be on my own as an<br />
artist. For my whole life and still now, I consider<br />
myself a part of Alison’s Union Station,”<br />
notes Tyminski, who’s 41. “For so many years,<br />
I’ve been so busy between work and family, it<br />
wasn’t at the top of my list to do a follow-up to<br />
‘Carry Me Across the Mountain.’<br />
“That record again was the product of having<br />
some free time and some songs. Everything<br />
kind of lined up for that one. Now I always knew<br />
I wanted to do another record, but it didn’t make<br />
sense until I guess it was eight or nine years<br />
later . . . ”<br />
How are they different, since he produced<br />
“Wheels” alone, but had co-produced his<br />
freshman album with Tim Austin?<br />
“Well I like producing, but I may be getting<br />
more credit than I deserve. ‘Wheels’ was produced<br />
by myself, but truly there were five guys<br />
in there (him, Adam, Barry, Ron and Justin),<br />
six counting the engineer. We got in that room<br />
and all worked together. I didn’t work up anything<br />
in which we all didn’t have say so.<br />
“I think the biggest difference between this<br />
album and the last was when I did that first<br />
record I had a bunch of songs I wanted to<br />
record,” continues Tyminski. “Then I kind of<br />
went out to choose a combination of people that<br />
I thought fitted the songs. In the case of<br />
‘Wheels,’ I had the combination of people that<br />
I wanted to record with, and then I went out to<br />
find songs I thought would work with this group<br />
of guys.”<br />
“Wheels” earned nominations for best bluegrass<br />
album, best band and Tyminski best vocals<br />
in the recent IBMA awards gala, as did his<br />
pickers; however, those taking home the prizes<br />
were Adam Steffey and Barry Bales.<br />
“Adam’s won on other occasions and that’s<br />
great,” says Dan, “but Barry got best bass player<br />
and has been nominated more times than I can<br />
count on my hands, so I’m really, really happy<br />
to see him get it this year.”<br />
Who got the Opry artists Gill and The Whites<br />
onto the CD?<br />
“I did that. I’ve been buddies with Vince for<br />
a while, and The Whites, Sharon and Cheryl, I<br />
got to know them through the (‘O Brother’) tour.<br />
The song the sisters sang on just made perfect<br />
sense for them (‘Some Early Morning’). What<br />
I was working for, if it makes any sense at all,<br />
since it was kind of a dark song, that it had a<br />
message of hope. I mean it was a man speaking<br />
of dying so that he could live, and their voices<br />
sort of sounded like angels to me. It was a perfect<br />
match.”<br />
Gill, of course, furnished top tenor for Tim<br />
Stafford’s tragic tune “How Long Is This Train,”<br />
as Dan sings hauntingly about a man waiting,<br />
whose son had been killed in action.<br />
Are you partial to songs of tragedy?<br />
“I’m not partial to them, but when I do hear<br />
a good tragedy song it stays with me. It is something<br />
that I do and I think it’s always been a<br />
part of bluegrass music. You’ll find most acts<br />
recording bluegrass do songs of love lost and<br />
storysongs of tragedy of some sort. They do fit<br />
in with our concept.”<br />
Two “Wheels” covers have generated a lot<br />
of comment - so how did “Whose Shoulder Will<br />
You Cry On” and “Who Showed Who” happen<br />
to be included?<br />
“Regarding the Kitty Wells song, it’s one<br />
I’ve been aware of for a long time. First, I remember<br />
my mom singing ‘Whose Shoulder<br />
Will You Cry On’ when I was very small. Then<br />
some years back when we were jamming with<br />
Danny Paisley (of Southern Grass), I heard him<br />
add a bluegrass twist to it. And I think it was<br />
Adam Steffey who mentioned what if we tried<br />
that tune? So we played it to see what it felt<br />
like, and just loved it. That was an easy one to<br />
do.”<br />
(Actually, Paisley’s dad the late Bob Paisley<br />
recorded the Kitty Wells-Billy Wallace tune<br />
on his “No Vacancy” album.)<br />
“Now the Del McCoury song ‘Who Showed<br />
Who,’ was suggested to me by Alison. I remember<br />
it was very early one morning when the<br />
phone rang, and I kind of looked at my watch,<br />
wondering who would call at that hour. Well, it<br />
was Alison and before we began talking, she<br />
said, ‘Who showed who . . . who showed who .<br />
. . who showed who.’ I pulled the phone away<br />
and said, ‘Who is this?,’ you know, joking with<br />
her. That was her way of suggesting the Del<br />
McCoury song. If I’ve learned anything these<br />
past few years with Union Station it’s if Alison<br />
feels that strongly that something will work for<br />
me, I should definitely consider it.”<br />
(“Who Showed Who” was written by Harold<br />
Tipton and recorded by McCoury.)<br />
Was his own creation “How Many Times”<br />
written especially for “Wheels”?<br />
“There was enough pressure for me to come<br />
up with new songs that I finally wrote a song,”<br />
Dan replies, with a chuckle. “How many times<br />
I remember writing a song, which of course is<br />
about love lost, or love gained and lost; however,<br />
you want to look at it. Really in truth that<br />
song is written about the songwriting process<br />
itself. I sat down to try and come up with a new<br />
tune, and thought to myself, how many times<br />
have I been down this road before; you know,<br />
start a song and write half the song and it doesn’t<br />
quite finish itself? . . . That was kind of the inspiration<br />
about finishing the song; that is, while<br />
still thinking about what I needed to do to complete<br />
the song, I found in that problem was the<br />
solution.”<br />
So was it Dan’s idea to add Ron Stewart’s<br />
sassy, kiss-off song “I Ain’t Taking You Back<br />
No More” to the mix?<br />
“We had already started the recording process<br />
and still needed a song at that point. Ron<br />
mentioned that he had an Ernest Tubb-sounding<br />
song, and I thought, ‘An Ernest Tubb song?<br />
I just don’t know if it would fit.’ Well Ron did<br />
have a recording of it in his car, so we went out<br />
and listened to it. When it started playing I immediately<br />
felt like we had just found a gem.”<br />
Speaking of treasure, how did he come<br />
across Moses?<br />
“Justin is a guy I did not know when we<br />
decided to get this thing going. The four of us<br />
were going to play, but really we needed one<br />
other musician. Adam and Ron had been around<br />
Justin and told me about him, and so we decided<br />
to give Justin a try. I remember the first<br />
time we picked together, we met over in Knoxville<br />
and had this little informal jam session -<br />
and he was just great! Justin’s a really super<br />
talented guy; I mean, he can do it all.”<br />
On Tyminski’s first solo effort, he included<br />
his own instrumental “Greens Fees,” so for the<br />
new CD he turned to Adam Steffey’s “Knock,<br />
Knock!”<br />
“I’ve had people come up and thank me for<br />
putting an instrumental on the CD, and also<br />
those who ask ‘Why in the world would you<br />
put an instrumental on your record?’ My answer<br />
to that is if you have someone in the band<br />
with those capabilities, why not show that off<br />
. . . We just had to put that instrumental on<br />
there.”<br />
Those playing on the album make up the Dan<br />
Tyminski Band currently touring to promote<br />
“Wheels.” How does it feel to travel out there<br />
under your own steam?<br />
“It’s exciting and a little bit scary, you know,<br />
booking shows and hoping that people will be<br />
showing up. Obviously, we have bigger venues<br />
with Alison and so we’re doing things on a<br />
smaller scale. But I’m pumped up over the reaction<br />
we’re receiving, and to be having this<br />
much fun playing with another configuration<br />
of people, outside of me, Alison and Barry.<br />
Though my name may be out front, this is very<br />
much a band whose members share the spot-<br />
Dan Tyminski wins best singer award at IBMA.
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 17<br />
Bluegrassers Dan and buddies perform as the fictional screen band Soggy Bottom Boys for awards special.<br />
light. To me that’s thumbs up!”<br />
Back in his native Vermont, he had a group<br />
called the Green Mountain Bluegrass Band, in<br />
which he played guitar and mandolin. Then at<br />
21, traveling farther afield, Dan joined the Lonesome<br />
River Band. Briefly, he filled in with the<br />
early Union Station band, but a sense of loyalty<br />
guided him back to Lonesome River.<br />
All these bands have spent time hitting the<br />
road playing festivals, clubs and small concerts,<br />
which are the bread and butter of most professional<br />
bluegrass groups.<br />
According to Dan, “The most common goal’s<br />
probably just to play the best music that we<br />
can, and always try to improve - individually<br />
and as a band.”<br />
Alison Krauss knew a good thing, on hearing<br />
Dan’s warm vocals and skillful guitar licks,<br />
so once again recruited him back into Union<br />
Station on a permanent basis in 1994.<br />
“To be honest with you, for many years I<br />
have really felt like I was put on this Earth and<br />
trained for the position that I’m in right now<br />
with Union Station. I really feel like that’s what<br />
I was meant to do. Now if that road ever takes a<br />
turn otherwise in the future, I’ll ride that pony<br />
like I always have. But I have never had an inner<br />
desire to do the solo thing, as I’ve really<br />
been happy with Alison.”<br />
How did a New Englander choose bluegrass<br />
as his genre?<br />
“I didn’t choose it, bluegrass chose me. My<br />
parents were these big fans and initially all the<br />
music that I was exposed to growing up was<br />
bluegrass or country. So it was never a big<br />
stretch for me as it’s all I ever really knew.”<br />
On his first solo album, "Carry Me Across<br />
the Mountain," brother Stan Tyminski added<br />
lead vocals to Dan’s revival of the “I Dreamed<br />
Of An Old Love Affair,” prompting one scribe<br />
to cite a similarity to Ricky Skaggs. (Stan helped<br />
Dan found the Green Mountain Band.)<br />
Do any other members of his family show<br />
vocal talent?<br />
“Hey, I’ve been married since 1989. I have<br />
three lovely kids, a daughter (Kathryn, 15) and<br />
two sons (Christopher, 13 and John, 11). They<br />
can all carry a tune and they like to sing, but I<br />
don’t think they’ll do it beyond the bathroom<br />
yet.”<br />
Dan met wife Elise back in Vermont. She<br />
reportedly regards George Clooney as a favorite<br />
movie star, and was exultant that her man<br />
was selected to supply his vocals in “O Brother<br />
‘Yeah, they put a<br />
smile on my face. But<br />
I absolutely love the<br />
game of golf. There’s<br />
not a doubt that I<br />
don’t look forward to<br />
every single round.’<br />
Where Art Thou?”<br />
Did Dan have an opportunity to get to know<br />
George?<br />
“We were in the shoot about four days and<br />
so we did get to hang around quite a bit on the<br />
set.”<br />
How did he like working with “O Brother’s”<br />
soundtrack producer T-Bone Burnett, who also<br />
helmed the Krauss-Plant CD “Raising Sand”?<br />
“I’ve heard so many people say so many<br />
different things about T-Bone. I’ve heard him<br />
called a genius, but when we recorded the album,<br />
I don’t think I really saw that then. But,<br />
as I listened and watched him involved in other<br />
projects, I now endorse that 100 per cent. I think<br />
what he was able to do was allow the artists a<br />
level of comfort that let them dig deep inside<br />
themselves to places that they did not normally<br />
go in a situation like that. I think T-Bone really<br />
does have a genius in setting the mood for letting<br />
people create. It’s not an easy job to get a<br />
bunch of musicians that do not usually play together,<br />
and have them produce what you’re<br />
seeking to get. T-Bone does have that ability.”<br />
Did anyone ever suggest Tyminski come<br />
up with an easier name for the marquee?<br />
“I never thought too much while growing<br />
up about my name even being on a marquee, so<br />
it never dawned on me that it wouldn’t fit well,”<br />
he replies, with a hearty laugh.<br />
Would he welcome an overseas tour, maybe<br />
to the United Kingdom?<br />
“We’ve been to England, Scotland and Ireland<br />
already, so we’ve performed in a few places<br />
over there. I thought the audiences were really<br />
fantastic; actually, they’re very knowledgeable<br />
fans. More so than I thought they would be,<br />
going over the first time. They’re very passionate<br />
about bluegrass in the same way that the<br />
people I grew up with in Vermont were about<br />
their music.”<br />
Two of Dan’s pastimes are golf and cooking,<br />
though it must be hard to find the time having<br />
such a busy schedule. Golf Digest magazine,<br />
incidentally, just named him one of the<br />
Top 10 music players who golf.<br />
“I thought that was very funny . . . I found<br />
myself in there last year, but I’ve moved up a<br />
couple spaces since then. Yeah, they put a smile<br />
on my face. But I absolutely love the game of<br />
golf. There’s not a doubt that I don’t look forward<br />
to every single round.”<br />
Ever play any golf tournaments?<br />
“I’ve done all kinds of charity events,<br />
scrambles and Captain’s choice events, but beyond<br />
that, I don’t compete on a more serious<br />
level.”<br />
Having stated that the Dan Tyminski Band<br />
will finish out the year touring together, will<br />
the new year end their travels?<br />
“You just have to look at our Union Station<br />
tour schedule and you’ll see all those days in<br />
between when we’re actually off stage, and<br />
those free days, the Dan Tyminski Band probably<br />
will be out there on the road. I think at<br />
least the first part of the year, it’ll be the Dan<br />
Tyminski Band. Any other free days, I’m pretty<br />
much on the golf course.”<br />
Accepting IBMA album award are (from left): Dan, Keith Case, Buck, Sharon White and the Peasall Sisters.<br />
+ All Dan Tyminski photos by Patricia Presley +<br />
Tyminski with one of his banjo heroes Bill Keith.<br />
Number of Local 257 members included<br />
Actor-fiddler-humorist Randall (Randy) Franks.<br />
Dan doin’ what he loves, pickin’ and singin’.<br />
Book cites country’s homespun humor traditions<br />
By WALT TROTT Dickens, Randy Franks (TV’s In The Heat of<br />
Southern humor, rural comedy and its practitioners<br />
are brilliantly showcased in Loyal<br />
Jones’ book “Country Music Humorists & Comedians,”<br />
which hit bookstands nationwide,<br />
Nov. 3.<br />
Author Jones’s earlier light-hearted explorations<br />
of American culture include “Laughter<br />
In Appalachia,” “Hometown Humor” and in<br />
collaboration with Local 257 member Billy Edd<br />
Wheeler, “Curing the Cross-Eyed Mule: Appalachian<br />
Mountain Humor.”<br />
Among this union’s members spotlighted,<br />
past and present, are Roy Acuff, Bill Anderson,<br />
Chat Atkins, Bill Carlisle, June Carter, Jimmy<br />
-Terry Pennington photo<br />
the Night series), Ferlin Husky (and alter ego<br />
Simon Crum), Grandpa Jones, Lonzo & Oscar,<br />
Roger Miller, Speck Rhodes, Johnny Russell<br />
and Sheb Wooley aka Ben Colder.<br />
Published by the University of Illinois Press<br />
as part of its continuing Music in American Life<br />
series, “ . . . Humorists & Comedians” is not<br />
only an entertaining read, but an indispensable<br />
encyclopedia-like reference for professionals.<br />
The practice of supplying humor to audiences<br />
dates way back to minstrel days of<br />
blackfaced humorists, adapted as rube comedy<br />
and barnyard humor by early country acts, to<br />
enliven shows traditionally showcasing sad<br />
songs of death and love lost.<br />
Jones chronicles comics of legendary stature<br />
such as Smiley Burnette, Judy Canova, Jerry<br />
Clower, Andy Griffith, Minnie Pearl, Ray<br />
Stevens, Roni Stoneman, as well as lesser<br />
known humorists like Little Clifford & A’nt Idy,<br />
Goober Buchanan, Cousin Emmy, Old Joe<br />
Clark, Jamup & Honey, Sarie & Sally and Arkie<br />
the Arkansas Woodchopper. Here, too, are more<br />
contemporary comedy characters like Larry the<br />
Cable Guy, Bill Engvall, Jeff Foxworthy and<br />
Kinky Friedman.<br />
Brief biographies on each artist are furnished,<br />
many featuring rare photos, along with<br />
samplings from some of their rib-tickling routines.<br />
Del Reeves, hosting his Country Carnival<br />
TV show, told about a blaze occurring out<br />
in the country: “This woman had a fire in her<br />
kitchen, and she called the fire department and<br />
said, ‘I’ve got a fire down here.’ The dispatcher<br />
asked, ‘Where is the fire?’ She said, ‘In the<br />
(Continued on page 24)
18 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
By WALT TROTT<br />
Steelin’ Away . . . that’s what Howard White<br />
did so quietly on Oct. 20, when he died in his<br />
sleep in what he called The White House, his<br />
Gallatin residence. Home with him at the time<br />
were wife Ruth and daughter Kathleen.<br />
Among those legends who benefitted by<br />
White’s steel guitar stylings through the years,<br />
were no less than Don Gibson, Cowboy Copas,<br />
Hank Snow, Ferlin Husky, Wilma Lee & Stoney<br />
Cooper, and a young Hank Williams, Jr.<br />
The former sideman, a Lifetime Member of<br />
AFM Local 257, was 82. Howard’s widow said<br />
he had most recently played his beloved Barney<br />
Miller Special steel guitar at a private gathering,<br />
marking the release of John Simon’s biography<br />
“Cowboy Copas & The Golden Age of<br />
Country Music.” White proclaimed great admiration<br />
for Copas.<br />
It was with Cowboy that he first played<br />
WSM’s Grand Ole Opry, and earlier with Don<br />
Gibson had performed on WNOX’s Mid-Day<br />
Merry-Go-Round, top exponents of country<br />
music.<br />
“It just killed me when Kathleen called to<br />
tell me yesterday,” says singer Kathy Copas<br />
Hughes, explaining how she learned of<br />
Howard’s death from his daughter. “We had<br />
worked the road together (with the Copas band)<br />
and when you’re in a car like that with them<br />
(band members), I think you really get to know<br />
them well. Howard was a genuinely funny person,<br />
and I remember that Daddy got a lot of<br />
kicks out of him.”<br />
“I hate to hear this,” wrote fellow picker<br />
Russ Hicks, on the Internet’s Steel Guitar Forum.<br />
“Howard seemed to be in such good health,<br />
and I’ve been very fortunate to spend some time<br />
with him, Ruth and Kat lately . . . time that is<br />
now even more precious to me. I’ll sure miss<br />
him . . .”<br />
Among White’s last professional performances<br />
were the 2005 Roxy Regional Theatre<br />
production of “A Closer Walk With Patsy Cline”<br />
starring Lisa Danes and directed by Tom Thayer,<br />
in Clarksville, Tenn.; and a rousing gig at Douglas<br />
Corner in <strong>Nashville</strong>, where his steel supported<br />
such artists as Norma Jean, George<br />
Riddle, Leona Williams, Dave Kirby and<br />
Frankie Miller, during the traditional Fan Fair.<br />
Howard’s appeared in three <strong>Nashville</strong>-based<br />
films: Marathon Pictures’ “Country Music On<br />
Broadway” with cameos by Hank Snow, Ferlin<br />
Husky, Skeeter Davis, George Jones and Audrey<br />
Williams; “Second Fiddle To a Steel Guitar,”<br />
featuring the old Bowery Boys’ Leo Gorcey and<br />
Huntz Hall plus guest artists such as Faron<br />
Young, Kitty Wells, Homer & Jethro and Dottie<br />
West; and “The Girl From Tobacco Row,” with<br />
Earl (Snake) Richards and Ralph Emery.<br />
White also authored the books: “Every Highway<br />
Out of <strong>Nashville</strong>” (with wife Ruth White,<br />
1990), compiling his road stories;<br />
“Mecklenburg: The Life & Times of a Proud<br />
People,” a scholarly 1992 historical account of<br />
his native Mecklenburg County, N.C.; and a<br />
compact, anecdotal book of humor, “Grits, Red-<br />
Eye Gravy & Wisdom, Southern Style.”<br />
Howard first recorded in 1948, with Shan-<br />
Howard stops by to say hello to producer-songwriter Buzz Cason and engineer Joe Funderburk.<br />
Howard White’s finale, ‘Steelin’ away’<br />
At the Union, Texas-based promoter Gabe Tucker reunites with fellow member Howard White and wife Ruth.<br />
non Grayson’s Golden Valley Boys at King<br />
Records in Cincinnati. He later contributed to<br />
the records of Cowboy Copas, Wilma Lee &<br />
Stoney Cooper, Canadian diva Lucille Starr and<br />
Hank Snow, among others. He’s heard to good<br />
advantage on the 1961 Top Five Snow single,<br />
“Beggar To a King,” written by The Big Bopper<br />
(J.P. Richardson). Other examples of his playing<br />
can be heard on the Bear Family Records’<br />
14-track Howard White album “<strong>Nashville</strong><br />
Sideman With Friends.”<br />
White served a year in the U.S. Navy during<br />
World War II. Unfortunately, in the Chemical<br />
Warfare branch, Howard was exposed to<br />
nerve gas during tests. As a result, he developed<br />
a neurological condition that troubled him<br />
throughout his life.<br />
Howard Osmond White, Jr., born March<br />
26, 1926 in Charlotte, N.C., was the elder son<br />
of a Presbyterian couple Howard and Eula<br />
Mae (Stewart) White. In addition to farming<br />
two-and-a-half acres, Howard’s dad was<br />
an aide to N.C. Gov. Cameron Morrison,<br />
later a U.S. Congressman, prompting the<br />
Whites to relocate to Washington, D.C.<br />
There young Howard even worked in the<br />
House of Representatives’ post office.<br />
Once dad gifted him with a $12.50<br />
Kalamazoo guitar, music became his great love.<br />
In listening to Jerry Byrd’s unique Hawaiian<br />
steel guitar playing on radio and records, however,<br />
Howard became enamored of that instrument.<br />
“So I watched the ads, earned some money<br />
at a service station and bought myself a steel<br />
guitar and a Sears & Roebuck amplifier,” he<br />
once explained.<br />
Knowing Byrd was on WLW-Cincinnati, “I<br />
wrote him, asking how he got the sounds he<br />
produced. He answered me back, giving me his<br />
tunings and advice on string arrangements and<br />
guages. Can you imagine anyone doing that<br />
now? It would be like stealing secrets from the<br />
federal government. From that time on, I was<br />
hooked! There was no other instrument for me<br />
but the steel.”<br />
Howard experienced his first professional<br />
let-down in 1947, when Arthur (Guitar Boogie)<br />
Smith rejected him during auditions for Smith’s<br />
Briar-Hoppers radio band.<br />
That only made him more determined. So<br />
he worked with Claude Casey at WBT-Charlotte.<br />
It was Howard’s stint with Shannon<br />
Grayson that led him to Cincinnati, where he<br />
got to meet his idol Jerry Byrd face to face.<br />
In 1951 in Knoxville, White linked up with<br />
young Don Gibson, playing on WNOX’s Mid-<br />
Day Merry-Go-Round and The Tennessee<br />
Barndance.<br />
Next, thanks to guitarist Randy Hughes,<br />
Howard was hired to play in star Cowboy<br />
Copas’ band, including on the historic Grand<br />
Ole Opry. When Copas disbanded, Howard<br />
worked in various bands, including Ferlin<br />
Husky’s Hush Puppies, Wilma Lee & Stoney<br />
Cooper’s Clinch Mountain Clan, also backing<br />
Las Vegas’ charmer Judy Lynn, and then-newlyweds’<br />
Hawkshaw Hawkins and Jean Shepard.<br />
On shorter stints, White worked with Hank<br />
Williams, Tex Ritter, Grandpa Jones, Red<br />
Sovine, Jim Reeves, Minnie Pearl, Wilf Carter<br />
(Montana Slim) and toured with Audrey Williams<br />
and her 9-year-old son Hank, Jr., in February<br />
1959.<br />
Howard fondly recalled as a highlight, however,<br />
an on-stage performance with Jerry Byrd<br />
playing twin steels on the Opry’s Prince Albert<br />
NBC-TV network portion.<br />
Another great memory for White was playing<br />
on the original demo by songwriter William<br />
Trader for his song “A Fool Such As I,”<br />
later recorded by Howard’s boss-to-be Hank<br />
Snow and, of course, Elvis Presley.<br />
Tiring of the road, White began working behind-the-scenes<br />
on Music Row, pitching songs<br />
on behalf of firms like Moss Rose, Famous<br />
Music, Pamper Music and briefly Tree Music.<br />
He worked closely with pioneers such as Hubert<br />
Long, Hal Smith and Smiley Wilson. Howard<br />
also developed his own Locomotive Music<br />
Company with his first copyright being “90<br />
Miles From <strong>Nashville</strong>,” its demo recorded at<br />
Muscle Shoals, Ala., some 90 miles from Music<br />
City, hence the title.<br />
Some songs White promoted were “Me and<br />
You and a Dog Named Boo” for Stonewall Jackson,<br />
“The Welfare Check” cut by pop diva<br />
Connie Francis, and a novelty number “Her<br />
and the Car and the Mobile Home” recorded<br />
by Dolly Parton and Porter Wagoner.<br />
When songwriters Glenn Martin and Dave<br />
Kirby brought in their co-write “Is Anybody<br />
Goin’ To San Antone,” he listened and suggested<br />
changes, taking no credit. Originally, the<br />
writers penned: “Is anybody goin’ to San Antone<br />
or Fargo, North Dakota/Any place is all right/<br />
As long as I forget I ever knowed her . . .”<br />
White warned, “Boys, you can’t say it like<br />
that! You need to think of another city besides<br />
Fargo, N.D., to rhyme with, because ‘knowed<br />
her’ is such bad English.”<br />
The rewrite - “Is anybody goin’ to San<br />
Antone or Phoenix, Arizona/Any place is all<br />
right/As long as I forget I’ve ever known her.”<br />
- became Charley Pride’s third #1 single in<br />
1970.<br />
White was indeed a creative person, who,<br />
once decided on a project, pursued it relentlessly<br />
until it became reality. He produced an album<br />
“Music At the Hermitage,” sponsored by the<br />
overseers to the national homestead and museum<br />
for America’s seventh President Andrew<br />
Jackson; and also recently recorded an album<br />
of inspirational songs, “Hymns We Used to<br />
Sing.”<br />
In his book of road recollections, “Every<br />
Highway Out of <strong>Nashville</strong>,” White told it like<br />
it was, much to the dismay of fellow travelers,<br />
one of whom was the Opry’s Ernie Ashworth.<br />
He recalled beginning a tour with Ernie<br />
(“Talk Back Trembling Lips”). Howard was<br />
taken aback when the troupe drove up for him,<br />
writing, “He showed up before our first tour in<br />
a white station wagon, with great big lips<br />
painted all over it. I said, ‘Oh, no!’ He said,<br />
‘This is what I’ve always wanted.’ . . . I had to<br />
drive that car from Florida to California.”<br />
Among the instruments White played on<br />
during his long career was a Rickenbacker, and<br />
a Sho-Bud pedal steel. Ruth explains, “Shot<br />
Jackson actually made that one out in Jack<br />
Anglin’s chicken house before it was Sho-Bud.<br />
Howard wasn’t really that big a fan of the pedal<br />
steel, and later enjoyed his Barney Miller Special<br />
steel guitar. It’s sitting right here and it is a<br />
beautiful instrument.”<br />
In his book, too, Howard looked back on<br />
decades of performing, remembering the career<br />
highs and lows.<br />
“There are still old fans that remember me<br />
out there and to them I say Bless You! I am<br />
proudest though, when a young musician remembers<br />
my work. Recently, one such steel<br />
guitar player Paul Franklin said he remembered<br />
meeting me when he was a little boy. Another<br />
steel picker Russ Hicks said he remembers skipping<br />
school to buy a record of mine, and then<br />
going home and learning to play like I did . . .<br />
Just like I did with Jerry Byrd records.”<br />
Although Acuff-Rose concluded Howard<br />
was talented enough to sign as an artist to<br />
Hickory Records back in the 1950s, White himself<br />
acknowledged, “I’ve never been a star. I’ve<br />
always been a sideman, but there’s satisfaction<br />
in a job well done. There’s so many people I<br />
have known that are playing at the big matinee-in-the-sky,<br />
and they are waiting for the rest<br />
of us to join them when the curtain opens up on<br />
the evening show. And that will be a really big<br />
show! And no one will worry about how many<br />
people they can pull in at the box office, or the<br />
standing ovations or who broke the attendance<br />
record.”<br />
Survivors include his wife of 43 years, Ruth<br />
(Bland) White, daughter Kathleen, and brothers<br />
William W. White of Charlotte, N.C., and<br />
Dr. James G. White of Daytona Beach, Fla. A<br />
memorial service was conducted Oct. 26, in the<br />
Texas Troubadour Theater, courtesy of friend<br />
David McCormick.<br />
Among those goodnaturedly recalling their<br />
associations with White were Harold Bradley,<br />
Lloyd Green, Billy Robinson, Henry Strzelecki,<br />
Buzz Cason, Les Leverett, Don Jennings, Joe<br />
Lee, Howard’s wife Ruth White and yours truly.<br />
Howard White plays his favorite instrument.
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 19<br />
Reviewed by Walt Trott<br />
America’s beloved Texas Troubadour<br />
charted Billboard five decades, his last being<br />
“Leave them Boys Alone” (#6, 1983), thanks<br />
to Hank Williams, Jr. and Waylon Jennings.<br />
It marked E.T.’s 60th Top 10 charting, six of<br />
which hit the top of the charts. This doesn’t include<br />
his million-selling signature song<br />
“Walkin’ the Floor Over You” in 1941, three<br />
years before Billboard started a country chart.<br />
This year would’ve marked Tubb’s 95th<br />
birthday (Feb. 9), and the 25th anniversary<br />
of his death. In commemoration, the British<br />
Archive of Country Music (BACM) has just<br />
released a 22-track album “Ernest Tubb:<br />
Just Rollin’ On,” all recorded in 1944, as<br />
radio transcriptions in Los Angeles.<br />
Although he sings in a slightly higher register<br />
than on his later Decca hits, there’s no mistaking<br />
that distinctive Tubb vocal style. It made<br />
him one of the top country balladeers of World<br />
War II, scoring in 1944 with a near-charttopper<br />
“(Take Me Back And) Try Me One More Time”<br />
and his first #1 charter “Soldier’s Last Letter,”<br />
co-written by Sgt. Henry (Redd) Stewart, who<br />
later found fame with Pee Wee King.<br />
That same year - 65 years ago in <strong>Jan</strong>uary -<br />
Tubb made these tracks (credited to producer<br />
Joe Perry), none were released as singles. These<br />
rare recordings, most of which he wrote or cowrote<br />
himself, withstand the test of time.<br />
Among the BACM standouts are “I Hate<br />
To See You Go,” which E.T. co-wrote with<br />
Homer Hargrove; “I Wonder Why You Said<br />
Goodbye”; and “I’m Glad I Met You After All.”<br />
Commendable, too, are his covers on Al<br />
Dexter’s “Too Late to Worry, Too Blue To Cry”;<br />
Paul Howard’s “With Tears in My Eyes”; and<br />
Fred Rose’s evergreen “We Live in Two Different<br />
Worlds.” boasting especially strong singalong<br />
support by the Texas Troubadours.<br />
Reportedly back then his Troubadours included<br />
Jimmie Short, electric guitar; Johnny<br />
Sapp, fiddle; Butterball Paige, bass; and Melvin<br />
Leon Short, rhythm guitar. Among those later<br />
Troubadours given a helping hand by Tubb<br />
were Jack Greene and Cal Smith, who earned<br />
their own stars in the country music firmament.<br />
In <strong>Jan</strong>uary 1943, Tubb joined the Grand Ole<br />
Opry. Tubb’s hits spanned three wars, and along<br />
the way he took “Blue Christmas” into the #1<br />
slot on <strong>Jan</strong>. 7, 1950, and into the Top 10 during<br />
two subsequent yule holidays.<br />
Careerwise, Tubb himself was duly recog-<br />
nized by a 1965 induction into the Country<br />
Music Hall of Fame, being named a charter<br />
member of the <strong>Nashville</strong> Songwriters’ Hall of<br />
Fame in 1970, and voted the 1980 Academy of<br />
Country Music’s Pioneer Award. Music City<br />
News awarded E.T. its Living Legend trophy<br />
in 1984.<br />
After a long struggle with emphysema, Tubb<br />
succumbed on Sept. 6, 1984, at age 70.<br />
Tubb also gave back to fandom in 1947, after<br />
hearing people complain they couldn’t find<br />
the records of such traditionalists, by initiating<br />
his Ernest Tubb Record Shop and its globallypopular<br />
mail-order business. That same year,<br />
the Opry superstar launched his WSM Midnight<br />
Jamboree broadcast, immediately after the<br />
Grand Ole Opry’s Saturday night sign-off - and<br />
it’s still broadcasting 62 years later, thanks to<br />
David McCormick, who carries on the Tubb<br />
legacy.<br />
“Just Rollin’ On” (available at $15.99) shows<br />
once again why they’ve hailed E.T. as “The<br />
Daddy of ’em all!”<br />
Local 257 guitarist Clay Mills was thrilled to celebrate<br />
the success of his song “Don’t Think I Don’t<br />
Think About It,” at ASCAP recently with co-writer<br />
Darius Rucker, who took it to #1 on the Billboard<br />
country chart. The song marks Rucker’s first #1, although<br />
he’s also frontman for the rockin’ Hootie &<br />
The Blowfish, who have sold some 25 million discs<br />
worldwide and won two Grammy awards.<br />
The Time Jumpers’ fiddler Kenny Sears enjoys his<br />
regular Monday night gigs at The Station Inn in downtown<br />
<strong>Nashville</strong>, and never knows who might stop by,<br />
including such artists as Jeannie Seely and Vince Gill,<br />
longtime Grand Ole Opry cast members. Of course,<br />
both Sears and Gill are Local 257 members in good<br />
standing. (See separate story on Gill on page 20.)<br />
The next General Membership<br />
meeting is scheduled 6:30 p.m.<br />
Wednesday, March 18, in George<br />
W. Cooper Hall at Local 257.<br />
Alison Krauss shares in five wins for Grammys<br />
Multiple award winning vocalist Alison<br />
Krauss just received five Grammys, thanks to<br />
her collaboration last year with Led Zeppelin’s<br />
original lead singer Robert Plant on the indie<br />
Rounder Records CD “Raising Sand.”<br />
A member of AFM Local 257, the bluegrass<br />
queen’s pairing with the rock superstar earned<br />
wins for best pop album. best pop single<br />
(“Please Read The Letter”), best pop collaboration<br />
(“Rich Woman”), country collaboration<br />
(“Killing the Blues”), and best contemporary<br />
folk album (“Raising Sand”). This gives her a<br />
total of 31 wins, the most of any female artist<br />
in any genre.<br />
Lady Antebellum’s another <strong>Nashville</strong>-based<br />
act earning a pop nomination, in the best new<br />
act category, though new pop diva Adele took<br />
the prize. Bela Fleck & The Flecktones garnered<br />
a win for best pop instumental album with their<br />
Rounder release “Jingle All the Way.” Charlie<br />
Louvin received a nod for his “Steps To<br />
Heaven” as best country/bluegrass gospel album,<br />
but lost to the Gaither Vocal Band; and<br />
Emmylou Harris in best contemporary folk division<br />
for her CD “All I Intended To Be,” losing<br />
to Krauss/Plant. Area rock acts nominated<br />
were Kid Rock, The Raconteurs and the Kings<br />
of Leon, who won as Best Rock Group for their<br />
“Sex On Fire” (See story, page 31.)<br />
The National Academy of Recording Arts<br />
& Sciences (NARAS) also honored Brenda Lee<br />
with its prestigious Lifetime Achievement<br />
Grammy. Winners were announced Feb. 8 in<br />
THE NASHVILLE<br />
NNASHVILLE A S H V I L L E M USICIAN<br />
UUSICIAN S I C I A N<br />
Official Journal of the American Federation of <strong>Musicians</strong><br />
AFM <strong>Nashville</strong> Local 257 -- 1902-2009<br />
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Los Angeles via CBS-TV.<br />
Nominees with a <strong>Nashville</strong> base were, in<br />
part, as follows:<br />
Female Vocalist Country Performance -<br />
Martina McBride, “For These Times”; LeAnn<br />
Rimes, “What I Cannot Change”; Lee Ann<br />
Womack, “Last Call”; Trisha Yearwood, “This<br />
Is Me You’re Talking To”; and Carrie<br />
Underwood, “Last Name.” Carrie Underwood<br />
won.<br />
Male Vocalist Country Performance - Brad<br />
Paisley, “Letter To Me”; Trace Adkins, “You’re<br />
Gonna Miss This”; George Strait, “Troubadour”;<br />
James Otto, “Just Got Started Lovin’<br />
You”; and Jamey Johnson, “In Color.” Brad<br />
won.<br />
Best Country Instrumental Performance -<br />
Cherryholmes, “Sumatra”; Bela Fleck &<br />
Flecktones, “Sleigh Ride”; Charlie Haden, Pat<br />
Metheny, Jerry Douglas & Bruce Hornsby, “Is<br />
This America?”; and Brad Paisley, James Burton,<br />
Vince Gill, John Jorgenson, Albert Lee,<br />
Brent Mason, Redd Volkaert & Steve Wariner,<br />
“Cluster Pluck.” Brad’s all-star latter disc was<br />
the victor.<br />
Best Country/Duo Group Performance -<br />
Brooks & Dunn, “God Must Be Busy”; Lady<br />
Antebellum, “Love Don’t Live Here Anymore”;<br />
Rascal Flatts, “Every Day”; SteelDrivers, “Blue<br />
Side of the Mountain”; and Sugarland, “Stay,”<br />
the winning performance.<br />
Best Country Song (writers award) - “Dig<br />
(Continued on page 31)<br />
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(Deadline for April-June 2009 issue ads: March 27, 2009)
20 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
Becky Hobbs promotes brand<br />
new projects; Indian heritage<br />
Becky Hobbs laughs it up with guitarist hubby Duane Sciacqua.<br />
Ageless appears to be an apt description of<br />
energetic Oklahoma songbird Becky Hobbs<br />
these day.<br />
She’s the blonde artist-songwriter who hit<br />
the 1983 Top 10 jackpot with honky tonk hero<br />
Moe Bandy, teamed on the Keith Stegall heartbreak<br />
ballad “Let’s Get Over Them Together.”<br />
Then she wowed ol’ George himself with her<br />
own self-penned 1988 Top 40 single “Jones On<br />
the Jukebox.”<br />
As if that weren’t enough to fulfill a young<br />
girl’s dreams, she got much mileage out of her<br />
song “I Want To Know You Before We Make<br />
Love” recorded by Alabama for their 1985<br />
double-platinum album “40 Hour Week,” charting<br />
104 weeks; next Conway Twitty recorded<br />
it as a single (Billboard #2, 1987), included on<br />
his Top 20 album, “Borderline,” charting 55<br />
weeks.<br />
Actually, those who have recorded Hobbs’<br />
songs include Helen Reddy on “I Can’t Say<br />
Goodbye To You,” Ken Mellons’ “Rub-A-<br />
Dubbin’,” Lacy J. Dalton’s “Feedin’ the Fire”<br />
and Emmylou Harris-Glen Campbell duetting<br />
on their Grammy-nominated “You Are.” Other<br />
duets she helped write were 1985’s “Still On a<br />
Roll” pairing Bandy and Joe Stampley; and “We<br />
Sure Make Good Love,” coupling Loretta Lynn<br />
and George Jones. Others singing her co-writes<br />
have included John Anderson, Zella Lair, Charly<br />
McClain, John Wesley Ryles, Wanda Jackson,<br />
Vikki Carr, <strong>Jan</strong>ie Fricke, Shirley Bassey and<br />
Shelly West. Among her co-writers are Don<br />
Goodman, Stan Davis, John Greenebaum,<br />
Blake Mevis and Candy Parton (divorced from<br />
a cousin to Dolly Parton).<br />
In 1993, Alabama released their version of<br />
Becky’s “Angels Among Us” on Dec. 25, charting<br />
six weeks; re-released it a year later to chart<br />
again as a Top 20; and thus made the cut for<br />
their platinum-selling “Alabama: Greatest Hits,<br />
Volume III” (1994). “Angels . . .” was featured<br />
on NBC-TV’s 1994 special Angels: The Mysterious<br />
Messengers. Earlier, Alabama also recorded<br />
her “Christmas Memories,” spotlighted<br />
on their double-platinum album “Alabama<br />
By WALT TROTT<br />
- Dean Dixon photo<br />
Christmas” (#8, 1985), giving mi’lady a nice<br />
chunk of change from those holidays.<br />
When we met with Becky at the Union, she<br />
had just returned from a flight that put her in<br />
Switzerland for a music festival, which coincidentally<br />
she had played 20 years earlier.<br />
“When I went over this time they had a huge<br />
screen up there showing that reunion performance<br />
we did 20 years earlier, and it was kind<br />
of freaky on stage, looking up there seeing<br />
myself as I looked then on that big screen.”<br />
Becky shared the stage two decades earlier<br />
with the Bellamy Brothers, Rattlesnake Annie<br />
and Asleep At the Wheel, as the show was<br />
filmed by a TNN cable crew accompanying<br />
them.<br />
Amazingly, she hasn’t seemed to age that<br />
much, defying time. (Hmmm maybe there’s another<br />
song in that comment.)<br />
“I’ve been back to Switzerland before this<br />
through the years, but there I was in October at<br />
the same hotel we were at 20 years before in<br />
this small village (Grindelwald),” says Hobbs,<br />
59. “It was like a picture-postcard scene there<br />
at the base of Mt. Eiger, from which I think you<br />
can see seven of the other Alps. Looking out<br />
the hotel window, we saw big red geraniums<br />
and pink roses still blooming and it was snowing.<br />
That’s amazing, as it was the first week of<br />
October. It was just breathtaking.”<br />
In August 2008, she performed on an island<br />
for Denmark’s Silkeborg Music Festival. Attesting<br />
to her fan following in Europe, she’s already<br />
booked for a March cruise from Stockhold, accompanied<br />
by Red Jenkins’ band, while sailing<br />
the Baltic Sea to Finland; followed by an Easter<br />
weekend performances in Northern Scotland<br />
at the Northern <strong>Nashville</strong> Country Music Clubs’<br />
Festival in April: “I played this festival in 2004,<br />
and it was a blast!”<br />
Hobbs continues, “I don’t do many tours in<br />
the U.S., because time you pay the bills touring,<br />
you don’t make that much money. But I’ve<br />
got some shows scheduled in ’09,” including a<br />
Bluebird Cafe <strong>Jan</strong>. 14 Benefit for Alive Hospice!<br />
featuring A Cowgirl, A Diva and A Shame-<br />
less Hussy a.k.a. Hobbs, Benita Hill and Kacey<br />
Jones; then there’s her Songwriters Session in<br />
the Ford Theater at the Country Music Hall of<br />
Fame & Museum, <strong>Jan</strong>. 31, featuring husband<br />
Duane Sciacqua.<br />
Becky known to fans as The Beckaroo was<br />
anxious to discuss her latest project, paying<br />
homage to her Cherokee Indian heritage, specifically<br />
the mixed-blood Chieftainess Nanyehi<br />
(meaning one who goes about) which history<br />
documents as a self-educated Ghighua (Beloved<br />
Woman), who became a proponent for<br />
peace.<br />
“This will be about her, my fifth Great-<br />
Grandmother, a mixed-blood woman of the<br />
Cherokees (1738-1822), also known as Nancy<br />
Ward (to the white man). It’s obviously a labor<br />
of love for me and I’m writing songs for an album<br />
and a play,” notes Becky, who hands us an<br />
advance demo containing six-tracks sans titles.<br />
Nanye-hi was the daughter of Tame Doe of<br />
the Wolf Clan (little is recorded on her father,<br />
though some speculated he may have been a<br />
displaced Delaware Indian). She won everlasting<br />
praise from her people by fighting side-byside<br />
with her Indian husband in a raid on the<br />
Creeks during the 1755 Battle of Taliwa. Once<br />
he fell in battle, she rose up to rally his warriors<br />
to fight on, even picking up a rifle to lead<br />
a charge that so unnerved the Creeks, that the<br />
Cherokees emerged victorious. Her valor earned<br />
her the title Ghigua, and she was so respected<br />
that she sat in with the Council of Chiefs, and<br />
later served as a peace negotiator with the<br />
whites.<br />
English trader Bryant Ward, who took up<br />
residence with the Cherokees, took her for his<br />
wife in the late 1750s. They had a daughter<br />
named Betsy, who would have been a closer<br />
great-grandmother to Becky.<br />
How long has this ambitious project been in<br />
the works?<br />
“Years,” sighs The Beckaroo, indicating its<br />
seed was sown in her youth. “It started when I<br />
was in high school in Bartlesville, Okla., when<br />
I clipped an article out of The Tulsa World newspaper<br />
with a caption on one of the pictures, reading<br />
‘White man measured by what he has, and<br />
an Indian by what he did.’ I put that in my jewelry<br />
box. One of my songs - ‘Pale Moon’ - has<br />
that sentence in the lyric, which I wrote like in<br />
1992. A lot of these songs have been a long time<br />
coming.”<br />
What will be the main theme of the work?<br />
“Now that I’ve really gotten into the Cherokee<br />
history, wow! This album’s message will<br />
be one of peace. A lot of the songs I’ve written<br />
in the last three weeks because I’m really getting<br />
into this now.”<br />
Assisting her is fellow Local 257 musicianhubby<br />
Duane Sciacqua, who earned his own<br />
spurs playing guitar 16 years with Glenn Frey<br />
following the breakup of The Eagles, and just<br />
finished three-and-a-half years with Rodney<br />
Crowell. He also played with Joe Walsh and<br />
Paul McCartney, and produced The Beckaroo’s<br />
“From Oklahoma With Love” album (1998).<br />
“Last May, we were married 12 years and<br />
that’s my first marriage,” Hobbs smiles. “I finally<br />
met somebody who could keep up with<br />
me. We’ve been very supportive of each other<br />
and we’re not jealous. You know Rodney’s a<br />
great guy, a good old down-home boy, but they<br />
would be gone so much . . . Duane stayed with<br />
him until the end of October, but it was a very<br />
amicable break . . . Now we’re just a couple of<br />
overgrown kids.”<br />
She and Duane have added a little studio in<br />
their basement: “That’s where we produced<br />
those tracks. Actually we both contributed all<br />
the music, him doing all the guitar stuff. Duane<br />
started off as a drummer years ago in California.<br />
We’re going out for Christmas (’08) to see<br />
his mom. We go back and forth quite a bit.”<br />
Sadly, Becky lost her mother Geneva<br />
(Clayton) Hobbs two years ago. They were very<br />
close and Mom had moved in with them for the<br />
last three years of her life.<br />
“My dad (Bill Hobbs) died in 1982 at age<br />
59, way too young . . . I have a sister (Barbara)<br />
left who lives with her husband in Texas, their<br />
son (Garrett) and his daughter live there, too.<br />
So I don’t have any close relatives left in Oklahoma.”<br />
So what’s the status of their play?<br />
“I’m flying by the seat of my pants,” replies<br />
Hobbs. “But out in Oklahoma, (playwright-director)<br />
Nick Sweet is writing our play. He’s<br />
done a lot of plays including the (outdoor<br />
drama) ‘Trail of Tears’ (and ‘In Our Own<br />
Words,’ while in residence at Oklahoma’s<br />
School For the Deaf). We’re hoping to premiere<br />
it at Talequah, Okla. (headquarters of the Cherokee<br />
Nation).”<br />
Becky promises to keep us informed.<br />
Singer-songwriter Becky Hobbs.<br />
Vince Gill, CMF’s<br />
Artist-in-Residence<br />
Oklahoma-born artist Vince Gill has garnered<br />
his share of honors in a career that’s<br />
spanned three decades, none of which has been<br />
more esteemed than induction into the Country<br />
Music Hall of Fame (2007).<br />
Now the Country Music Foundation, of<br />
which he was once president, is calling on Amy<br />
Grant’s husband to serve as its Artist-in-Residence,<br />
a program saluting performers who have<br />
made a significant contribution to the arts.<br />
Gill will be appearing again at the CMF’s<br />
Ford Theater, 7 p.m. Feb. 24, in an upclose and<br />
personal meet augmented by memorabilia such<br />
as recordings, photos and film clips. The artist<br />
will also autograph his likenesses for the public<br />
in the on-site gift shop.<br />
Those honored previously include Cowboy<br />
Jack Clement, Earl Scruggs, Tom T. Hall, Guy<br />
Clark, Kris Kristofferson and Jerry Douglas. An<br />
accomplished singer-songwriter, Gill hits include<br />
Grammy winners “When I Call Your<br />
Name” and “I Still Believe in You.”<br />
The 18-year Grand Ole Opry member was<br />
1993 and 1994 CMA Entertainer of the Year.<br />
For further information on the CMF’s Artist-in-Residence<br />
program, check on line:<br />
www.countrymusichalloffame.com or telephone<br />
(615) 416-20<strong>01</strong>. The Country Music Hall of<br />
Fame is located at 222 Fifth Ave. S., <strong>Nashville</strong>.
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 21<br />
Bluegrass winners bask in the IBMA spotlight during recent ceremony<br />
Kathy Mattea and Tony Trishka named nominees.<br />
Will T. Malone dies on Feb. 6<br />
Bass clarinetist William Thomas Malone,<br />
known on the music scene as “Will T.,” died<br />
Feb.6, in <strong>Nashville</strong>. He was age 93, and a Lifetime<br />
Member of AFM Local 257.<br />
Malone played in <strong>Nashville</strong> orchestras such<br />
as The Southern Colonels, Owen Bradley’s<br />
band, Francis Craig’s big band (famed for their<br />
multi-million selling #1 single “Near You”), and<br />
was a charter member of The Establishment, a<br />
unit made up of business and professionals, supporting<br />
scholarship funds. Among fellow musicians<br />
in The Establishment were Otto Bash,<br />
Beverly LeCroy, Paul Lenk, Scoby Dill, Charlie<br />
Dungey, Dottie Dillard, Jack Strotman, Bucky<br />
Doster and, of course, Del Sawyer.<br />
Following graduation from Watertown High<br />
School in 1934, Will attended State Teachers<br />
College in Murfreesboro (1934-’36), and earned<br />
his business degree from Cumberland College<br />
in 1939. While on the Cumberland campus, he<br />
was the college’s first band director. He had<br />
played clarinet and saxophone in area dance<br />
bands.<br />
Will had also fronted his own orchestra, The<br />
Collegians.<br />
Malone served as organist in <strong>Nashville</strong><br />
churches, most notably 45 years at First Baptist<br />
Church of Donelson.<br />
During World War II, Malone served his<br />
country in the military theater of operations in<br />
Europe.<br />
Back in Tennessee, Malone owned and operated<br />
Roy Warden Piano & Organ Company.<br />
He was also one of the first inductees into<br />
the MTSU Band of Blue Hall of Fame. He was<br />
predeceased by his parents Pattye (Evins) and<br />
S. V. Malone, his wife Ruth (Peek) Malone.<br />
Survivors include daughters Patsy Davis of<br />
Murfreesboro, Michelle Browne of Mt. Juliet,<br />
and Ann Kinney of Murfreesboro; son Bill<br />
Malone of Old Hickory, Tenn.; grandchildren<br />
Karl Gentry, Kelli Johnson, Jim Browne, Beth<br />
Wehmeyer, Robin Kinney and Melody Kinney;<br />
three great-grandchildren Haley Johnson, Wyatt<br />
Johnson and Charlotte Wehmeyer; and brother<br />
Charles Malone of Clarksville.<br />
Services were conducted on Feb. 9 at Mt.<br />
Olivet Funeral Home, <strong>Nashville</strong>, with The Reverend<br />
W. L. Baker officiating. Honorary Pallbearers:<br />
Charles Malone, Bill Amonette, Jack<br />
Evins, Don McEachern, Eric Wehmeyer, Troy<br />
Halliburton, Bucky Doster, John Evans and<br />
Jimmy Shea. Pallbearers: Glenn Davis, Scott<br />
Kinney, Jim Browne, Chad Johnson, John<br />
Halliburton and Mike Coakley.<br />
Dailey & Vincent won total of seven awards.<br />
PHOTOS (9) BY PATRICIA PRESLEY<br />
Andy Hall won best instrumental album.<br />
Fiddler Michael Cleveland accepts best instrumental award for his backing band Flamekeeper.<br />
The Grascals perform for the IBMA convention crowd.<br />
Harold Bradley holds a USAGEM appreciation plaque awarded to Local 257 (see letter, page 27). Assisting<br />
the former President in accepting the gospel award, is then Secretary-Treasurer Billy Linneman (right).<br />
Others pictured are (from lfeft) TV personality Melanie Walker, USAGEM President Daniel Johnson, wife<br />
Teresa Johnson, USAGEM Musician of the Year John Rees, and USAGEM Vice President Lynn Fox.<br />
Best Female Vocalist Dale Ann Bradley.<br />
Barry Bales won IBMA best bassist for first time.<br />
Rob Ickes took home best dobro honors.<br />
Adam Steffey voted best mandolinist.<br />
Next issue read about Local 257’s<br />
new leaders, President Dave<br />
Pomeroy and Secretary-Treasurer<br />
Craig Krampf; who they are and<br />
what they hope to achieve.
22 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
Duane Eddy brought the guitar out front in R&R<br />
Today’s Duane Eddy.<br />
By WALT TROTT<br />
Duane Eddy’s roots are country, though best<br />
known for single-note melodic, guitar-driven<br />
instrumental rockers like “Rebel Rouser.”<br />
Eddy plays the Feb. 12 Cecil Scaife Scholarship<br />
fund-raising concert at the historic<br />
Ryman Auditorium, conducted as the second<br />
annual Music City Tribute to Elvis Presley.<br />
“I liked country music and Elvis did, too,”<br />
insists the King of Twang.<br />
In retrospect, the artist’s instrumental rockers<br />
would likely fall into the contemporary<br />
country category now, and in fact some did chart<br />
as such in his heyday.<br />
No less than Creedence Clearwater Revival’s<br />
John Fogerty calls Duane a Guitar God, standing<br />
tall among those Eddy’s influenced, notably<br />
Beatle George Harrison, The Who’s John<br />
Entwistle and ELO’s Jeff Lynne.<br />
“I guess I was the first rock musician to do<br />
an instrumental record and become an artist with<br />
a guitar who didn’t sing to make a hit single,”<br />
grins Eddy, noting that was rather revolutionary<br />
in the infancy of rock.<br />
On the record, his pioneering rock instrumental<br />
smashes such as 1958’s “Rebel Rouser,”<br />
brought the guitar to the forefront of rock and<br />
roll. For that and his many achievements since,<br />
Duane Eddy was named to the Rock & Roll<br />
Hall of Fame in 1994, and was just inducted<br />
into the International <strong>Musicians</strong> Hall of Fame<br />
here, Class of 2008 (on Oct. 28).<br />
“Yeah, that’s an important one to me because<br />
the sidemen have always been my heroes,” says<br />
Eddy, 70. “I’d rather be in the Hall of Fame<br />
with these musicians, so I’m real proud of that.<br />
That’s the icing on the cake.”<br />
Honors, however, are nothing new to this<br />
innovative player. Eddy earned a Grammy<br />
award for his 1986 rock instrumental collaboration<br />
with the British techno-pop trio Art of<br />
Noise on redoing his hit “Peter Gunn,” (which<br />
spent six weeks at #1 on Rolling Stone’s dance<br />
chart); garnered another nomination for best<br />
country instrumental (with Doc Watson) in<br />
1995; was named #1 Rock & Roll Instrumentalist<br />
of All Time by Billboard, the trade bible;<br />
and was bestowed with Guitar Player<br />
magazine’s 2004 Legend Award.<br />
Technique is the key to Eddy’s lasting renown<br />
as Twang King. During our recent chat at<br />
the Blackstone Brewery Pub, we found Duane<br />
to be a no-nonsense sort, quiet but willing to<br />
answer any questions forthcoming, often in his<br />
usual self-deprecating style.<br />
We brought up the much-quoted New Music<br />
Express magazine popularity poll of 1960,<br />
showing Eddy topping a United Kingdom rock<br />
survey displacing Elvis Presley as #1.<br />
“I didn’t really take that seriously,” he chuckles.<br />
“I mean I just toured there for one thing<br />
and they never heard somebody sound exactly<br />
like their record on stage for another, and that<br />
blew them away. Remember at that time I had<br />
great musicians and we’d been doing it together<br />
a couple years, and the band was tight and had<br />
a big sound.”<br />
Thanks to his wife, the former singer Deed<br />
Abatte’s penchant for genealogy, Duane has<br />
learned that the Eddys first came to America in<br />
1630 from England.<br />
“There’s so much available out there to<br />
check on . . . I think we had one idiot in our<br />
family . . . Anyway, that’s how they listed him<br />
on the census. What did they call it, Deed?”<br />
“It’s nothing to brag about,” laughs Deed.<br />
“It was an awful description . . . you don’t want<br />
to know it.”<br />
Born April 26, 1938 in Corning, N.Y.,<br />
Duane was 5 when his daddy taught him<br />
some basic chords on his Martin acoustic<br />
guitar. “Wildwood Flower” was one of the<br />
first tunes he picked out, and at 9 Duane got<br />
his own Kay acoustic guitar.<br />
“I used to listen to radio, stations like<br />
WCKY-Cincinnati with the Chuck Wagon Gang<br />
and different country artists (like Lonnie<br />
Glosson & Wayne Raney), the WWVA-Wheeling<br />
(W. Va.) Jamboree and WSM-<strong>Nashville</strong>’s<br />
Grand Ole Opry,” recalls Eddy, who at 10<br />
played an instrumental “The Missouri Waltz”<br />
on a local broadcast with his lap steel guitar, a<br />
gift from an aunt.<br />
“Yeah, I was also a Saturday movie matinee<br />
kid and cowboys like Gene Autry and Roy<br />
Rogers got me into C& W music. Those guys<br />
were good singers and musicians, as well.”<br />
Another fond memory came from a local station,<br />
he says, “One of the radio shows, like in<br />
Rochester, Cornell (University in Ithica) or<br />
someplace in midstate or upstate New York, did<br />
a thing where they’d start off with just a bass,<br />
then the drums would come in, then rhythm<br />
guitar, then piano, and then they’d start singing,<br />
and I thought that was the coolest thing I<br />
ever heard, to hear it build up like that, and hear<br />
each instrument individually for a time . . . ”<br />
Among his early guitar heroes were Les Paul<br />
and Merle Travis: “I was fascinated by Merle’s<br />
vibrato for one thing, and you know, just the<br />
way he played was a beautiful thing to hear.<br />
And, of course, when Chet (Atkins) came along,<br />
he took it a step further from Merle and Les.”<br />
Eddy never had any formal instrumental instruction<br />
and didn’t learn to read music. He has<br />
an amazing ear for tone, however, and is particular<br />
about the guitar he plays. Reportedly,<br />
he’s the first rock picker to have his own signature<br />
model guitar - Guild Guitars in 1960 introduced<br />
the Duane Eddy Models DE-400 and<br />
Deluxe DE-500.<br />
“When I was about 12 or 13 my family<br />
moved to Arizona and I finished growing up<br />
there. Out in Arizona, I listened to the Del Rio,<br />
Texas border station where they sold baby<br />
chicks and played lots of good country music.”<br />
Still a youngster, he used to beg station staff<br />
to save their discarded singles for him. At 15<br />
his birthday present was an electric Gibson Les<br />
Paul model, which he played for local performances.<br />
Three years later, he traded that in on<br />
his red Gretsch 6120 Chet Atkins’ model (used<br />
to record his early hits).<br />
Still tickets for DJ & Radio Hall of Fame show<br />
Tickets are still available for the Country Music DJ & Radio Hall of Fame induction banquet, at<br />
the <strong>Nashville</strong> Renaissance Hotel on Tuesday, March 3. The 2009 inductees are Chuck Collier and<br />
Gerry House (DJ Hall of Fame); Bob McKay and Moon Mullins (Radio Hall of Fame). Merle<br />
Haggard will receive the Career Achievement Award and Sheila Shipley Biddy the President's<br />
Award. Single tickets are $105; sponsored tables are $2,100; with proceeds going to Country Music<br />
DJ & Radio Hall of Fame. Contact CRB for availability. CRS-40 will be held March 4-6, at the<br />
<strong>Nashville</strong> Convention Center, <strong>Nashville</strong>. For details, call CRB, ( 615) 327-4487 or visit CRB.org<br />
Today, Duane embraces rock - traditional or<br />
avant garde - blues, jazz and country, and began<br />
his career collaborating with Barton (Lee)<br />
Hazlewood in Arizona.<br />
“Lee was a disc jockey to start with, and he<br />
used to dissect those records while playing them<br />
on his radio show,” recalls Eddy. “That way, by<br />
dissecting them, he knew how he wanted things<br />
to sound. So when we got into the studio, Lee<br />
worked with the engineer until he got the sound<br />
the way he wanted it. I still got those records<br />
and they hold up today, 50 years or more later.<br />
Lee’s first job as a DJ was in Coolidge, Ariz.<br />
(at KCKY), while I was finishing up high<br />
school.”<br />
Eddy also learned to play banjo, Hawaiian<br />
pedal steel and 12-string bass: “I sang with another<br />
guy named Jimmy (Dell) Delbridge and<br />
we did like a Louvin Brothers’ type thing, except<br />
we kinda jived it up a bit, and didn’t know<br />
it then but that style would later be called<br />
rockabilly. This was in 1953, before they coined<br />
the word or before we knew about Elvis.”<br />
Duane and Jimmy were of interest to Lee,<br />
then burning with ambition for better things.<br />
“Lee took us up to Phoenix and acted as our<br />
manager, because he’d heard about this talent<br />
show up there, and wanted to get into a bigger<br />
market as a DJ,” explains Eddy. “They put local<br />
acts on and a guy named Ray Odum (a DJ)<br />
would put this on in a place called Madison<br />
Square Garden in downtown Phoenix on Saturday<br />
nights. He’d have local acts on the show<br />
for the first part, then he’d have name country<br />
artists come out and do their show. We auditioned,<br />
and they liked us.”<br />
Hazlewood landed a radio slot in Phoenix<br />
and promoted his teen-aged duo: “Yes, Lee cut<br />
a little record on us, two tracks for his label.”<br />
Jimmy & Duane’s first single “Soda Fountain<br />
Girl,” had the backing of the Western<br />
Melody Boys, but did little to further the pair.<br />
“Jimmy got religion and we kinda went our<br />
separate ways,” smiles Duane. “After he got<br />
saved, he couldn’t sing worldly music. Lee kept<br />
producing and got a hit with a singer named<br />
Sanford Clark called ‘The Fool’ in 1956 (picked<br />
up by Dot Records, it went Top 10 pop and #14<br />
country).”<br />
Eddy continued to play locally: “After the<br />
main event country acts did their show at the<br />
Madison Square Garden, they’d clear all the<br />
chairs away and have a dance. Al Casey played<br />
in that band (Sunset Riders), and I later got his<br />
job as guitar player when he went to California.<br />
I worked there the next two or three years.”<br />
Meanwhile, Hazlewood had tied in with promoter-publisher<br />
Lester Sill, familiar with Jamie<br />
Records, Dick Clark’s label based in Philadelphia.<br />
At the time, Clark hosted the highly popular<br />
Saturday teen dance telecast American Bandstand<br />
from the City of Brotherly Love.<br />
Duane’s distinctive guitar playing and Lee’s<br />
far-out sound experiments proved to be a winning<br />
combination for their collaborations, both<br />
musically and productionwise, resulting in a<br />
string of successes. Their first Jamie effort<br />
“Moovin’ ’n Groovin’” nabbed enough attention<br />
that the label OK’d a follow-up single.<br />
Surprisingly, Jamie’s second Duane Eddy release<br />
featured “Stalkin’,” as its A side, but until<br />
Clark took Eddy’s advice and promoted the B<br />
side, “Rebel Rouser,” on American Bandstand,<br />
it looked like another stalled single.<br />
“I cut ‘Rebel Rouser’ (which Lee and Duane<br />
co-wrote) in March 1958 and they put it out in<br />
June. Well, Dick wanted to open the show live<br />
with ‘Moovin’ ’n Groovin’,’ when he did his<br />
first remote in Miami, Fla. He was getting ready<br />
to do that when he asked me, ‘Would you come<br />
down to Miami and do my show?’ I said yes. In<br />
July, ‘Rebel Rouser’ was doing fine. So we did<br />
that and it went over good. Dick said, ‘I need a<br />
closer,’ but I hadn’t cut any other records really<br />
that would work. The B sides weren’t that thrilling.<br />
Then I remembered I’d cut a track on ‘Ramrod’<br />
(for the local Ford 500 label in 1956). We<br />
worked up a little arrangement on it, and I<br />
played it for them.<br />
Duane Eddy in his heyday.<br />
“Monday morning there were like advance<br />
orders for 150,000 on the desk of Jamie<br />
Records. So we had to take the track, cut it,<br />
overdub and play sax on it . . . That was Tuesday,<br />
and they started mastering and pressing it<br />
on Wednesday and on Thursday they shipped<br />
it, and by Friday, less than a week after I played<br />
it on . . . Bandstand, it was coming into stores.”<br />
Let’s not skip over the uniqueness of Eddy’s<br />
playing style or the visionary sound effects introduced<br />
by Hazlewood to enhance it. During<br />
their early recording stints, Duane used a<br />
Magnatone amplifier with 15-inch speaker (and<br />
tweeter), adding a DeArmond tremolo unit, then<br />
setting the amp’s treble control way up, turning<br />
down the bass while adjusting the midrange<br />
as needed, to create his near-trademark twang.<br />
Of course, he liberally utilized tremolo, echo<br />
and reverb, created by producer Lee placing a<br />
speaker and microphone inside a 2,100-gallon<br />
water tank (serving as an echo chamber), capturing<br />
that signal or echo effect via an Ampex<br />
tape recorder.<br />
Duane Eddy’s distinctive vibrato-bar technique<br />
proved essential to his unique sound. This<br />
he accomplished by using the bar to execute<br />
exaggerated bends or add subtle vibrato to<br />
chords. And his control of pitch was right-on,<br />
and often Duane raised a note up to pitch by<br />
depressing the bar before hitting the string.<br />
Eddy normally picked between the pickups<br />
or near the neck, as he liked the round tone over<br />
the more percussive tone created by picking<br />
near the bridge. However, he did use the<br />
instrument’s bridge pickup for most of his<br />
songs, but occasionally utilizing both pickups<br />
at once. When playing blues he prefers the<br />
guitar’s higher register.<br />
How come he resorted to a saxophone sound<br />
on his hits?<br />
“No, it wasn’t a favorite instrument. If I’d<br />
had my druthers, I would probably had a steel<br />
guitar because I liked country. But, we were<br />
trying to do rock and roll and sax was happening<br />
at the time. I remember we didn’t have sax<br />
players in Arizona in those days, so we overdubbed<br />
a saxophonist (Plas Johnson) on<br />
‘Moovin’ ’n Groovin’,’ our first instrumental.”<br />
“Rebel Rouser” was the single that established<br />
Eddy as an artist to reckon with (featuring<br />
rebel yells and handclaps by a group called<br />
The Rivingtons). Not only did it peak at #6 on<br />
Billboard’s pop list, but crossed over as a strong<br />
country Top 20, and amazingly enough, scored<br />
#8 R&B, the first of six major chartings on that<br />
list. Eddy’s next charting, “Ramrod,” did better<br />
R&B (#17) than it did on the pop chart (#27).<br />
Thus 1958 was a good year for both Eddy<br />
and Jamie Records. “Rebel Rouser” was declared<br />
Duane’s first Gold Record (eventually
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 23<br />
topping more than a million in sales). It was<br />
also the year Elvis Presley reported to Local<br />
Draft Board 86 in Memphis; NARAS awarded<br />
its first Grammys; Columbia Records released<br />
the first stereo album; and among artist debuts<br />
that year were Frankie Avalon, Bobby Darin,<br />
Connie Francis, Floyd Cramer, Smokey<br />
Robinson & The Miracles, and Duane Eddy.<br />
Additional successes for the R&R picker included<br />
“Cannonball” and “Detour,” plus his first<br />
album release: “Have Twangy Guitar, Will<br />
Travel,” a Top Five, that hung on the charts 82<br />
weeks.<br />
Of course, Duane did a lot of that, touring<br />
with top names, and continued to wow viewers<br />
via major TV show appearances. His official<br />
band, The Rebels, boasted a number of solid<br />
players who would surface later as top session<br />
musicians, among them Al (and Corky) Casey,<br />
Larry Knechtel and Steve Douglas. Having attained<br />
all this success, Duane was 20 years old.<br />
Another outlet for Eddy was movies, thanks<br />
to Dick Clark introducing him in his 1960 starrer<br />
“Because They’re Young,” and its title tune gave<br />
him his highest-charting to date #4, though sung<br />
by co-star James Darren in the film (based on<br />
John Farris’ book ‘Harrison High’). Eddy and<br />
band did perform for the flick’s school dance.<br />
“I played my new single ‘Shazam’ (a title<br />
taken from the comic-book character Captain<br />
Marvel) in the movie. You know John Williams<br />
was our conductor on the film, but in those days,<br />
they actually called him Johnny (who won<br />
multiple Oscars later for movie themes a la<br />
‘Jaws’ and ‘Star Wars’).”<br />
How come a ruggedly-handsome chap like<br />
Duane didn’t become a Hollywood hero?<br />
“A lot of people had that idea,” muses Eddy.<br />
“Actually one of my best friends in my life was<br />
actor Richard Boone (of TV’s Paladin - Have<br />
Gun, Will Travel fame). I did a couple of his<br />
TV shows, and he was dead certain I would<br />
became a big actor, but truth is I just didn’t like<br />
acting that much.<br />
“The hours are brutal. You have to get up at<br />
4 or 5 in the morning, work yourself up to do a<br />
scene for a matter of minutes, then sit around<br />
for hours before doing it again at a different<br />
angle,” continues Eddy. “At the time I just didn’t<br />
get it. I guess I’d like to try it now. Don’t misunderstand<br />
me, it was fun at first and I got to<br />
do cowboy things, which were what I wanted<br />
to do as a kid, like jumpin’ on a horse, gallopin’<br />
away and everything. That was cool.”<br />
How did he meet Boone, reportedly a cousin<br />
of <strong>Nashville</strong> native Pat Boone?<br />
“I met him when my publicist in L.A. got<br />
me a part in a cavalry picture called ‘A Thunder<br />
of Drums’ and Dick was the star of that at<br />
MGM. I mean it had a great cast: Arthur<br />
O’Connell, George Hamilton, Richard Chamberlain,<br />
Charles Bronson and Slim Pickens.<br />
Hey, even (rodeo champ) Casey Tibbs was there<br />
hangin’ around. They were a great crew, a good<br />
bunch of people. Dick and I took a liking to<br />
each other and we got to be good friends. Next<br />
thing I knew he invited me to do a ‘Paladin,’ so<br />
I did one, then two. We started hangin’ together<br />
over the next 20 years. Then he died in 1981<br />
from cancer.”<br />
When did Duane record the CBS-TV Paladin<br />
theme ballad?<br />
“My musicians, like Larry Knechtel (on piano),<br />
Jim Horn (sax) and I, cut the theme after<br />
I knew him a couple years. It went Top 40 (for<br />
RCA in 1962).” Theme songs proved fruitful<br />
for Eddy, notably “Peter Gunn” (from Craig<br />
Stevens’ TV series), and “Pepe” (a movie starring<br />
comic Cantinflas with an all-star cast).<br />
Duane’s 1959 singles scoring were “The<br />
Lonely One,” “Yep!,” his second Top 10 “40<br />
Miles of Bad Road” and “Some Kinda Earthquake,”<br />
which set a record of sorts for Top 40s,<br />
coming in at 1 minute, 17 seconds on radio,<br />
where the three-minute single rules.<br />
Another interesting record was his “Theme<br />
From Dixie,” when he was joined in the studio<br />
by both the Anita Kerr Singers and The<br />
Jordanaires (who backed Elvis Presley). That<br />
classic Civil War song, penned by black composer<br />
Daniel Emmett in 1860, was recorded<br />
during its centennial anniversary. Two more<br />
1960 chartings were “Bonnie Came Back,”<br />
adapted from the Scottish folk song “My Bonnie<br />
Lies Over the Ocean,” and “Kommotion.”<br />
Obviously, Eddy wasn’t the first to hit with<br />
an instrumental number, as there was zither<br />
player Anton Karas’ #1 multi-million selling<br />
“Third Man Theme” in 1950; followed by Local<br />
257’s Del Wood piano smash, “Down Yonder,”<br />
a million-seller in 1951, among others.<br />
“Yes, people had one-shot hits, but having a<br />
string of instrumental successes had never been<br />
done before and it sort of knocked them for a<br />
loop,” notes Eddy. “I think we had a string of<br />
like 15 in a row . . . , ” all of which Eddy did the<br />
arrangements on.<br />
Established as a solo star, Duane co-starred<br />
in a routine 1962 sagebrush yarn “The Wild<br />
Westerners,” featuring Nancy Kovack, James<br />
Philbrook and Guy Mitchell, directed by Oscar<br />
Rudolph, about Yankee gold shipments.<br />
At one time, he was being considered for a<br />
TV series of his own: Duane participated in a<br />
pilot film titled The Quiet Three, which unfortunately<br />
didn’t get picked up.<br />
After a long dry spell, Duane returned to<br />
movies in ’68 with low-budget “Savage Seven,”<br />
a motorcycle melodrama starring Robert<br />
Walker, Jr., Eddy and Adam Roarke; and also<br />
played a cameo that year in Richard Boone’s<br />
“Kona Coast,” featuring Vera Miles, Joan<br />
Blondell and Kent Smith, as a fishing skipper<br />
tries to track down his daughter’s killers.<br />
In August 1961, Eddy married teen-vocalist<br />
Miriam Johnson at her preacher-mother’s<br />
church in Arizona, and produced her at Jamie<br />
on a song titled “Lonesome Road.” Although<br />
she toured with him, her career didn’t take off<br />
until she later recorded as Jessi Colter, known<br />
best for her self-penned ballads “I’m Not Lisa”<br />
and “What’s Happened To Blue Eyes.” The<br />
marriage ended in 1968, and she later wed<br />
Waylon Jennings.<br />
Among Eddy’s hit LPs were the #2 ranked<br />
“The Twang’s The Thang” (1959), on which he<br />
first cut “You Are My Sunshine”; “One Million<br />
Dollars Worth of Twang” (1960); and that<br />
same year an all-acoustic album “Songs Of Our<br />
Heritage,” featuring standards such as “On Top<br />
Of Old Smokey” and “The Prisoner’s Song.”<br />
In 1962, after all those hit Jamie discs, Eddy<br />
signed with RCA Records, then run by his guitar<br />
hero Chet Atkins. Why did Eddy fare better<br />
on the indie label than on the major RCA?<br />
“They had a great promotion man (Harry<br />
Finfer) who ran Jamie (named after Harry’s<br />
daughter). He was the best in America at the<br />
time, not only saturating the Philadelphia area,<br />
but out around the country, doing a great job.<br />
Yet, I had a good run at RCA, as well.”<br />
Yes, Eddy had a near-Top 10 with “Dance<br />
With the Guitar Man” in ’62, followed by “Boss<br />
Guitar,” both tracks boasting some vocal backing<br />
by his Rebelettes (The Blossoms). RCA albums<br />
include “Twistin’ and Twangin’,” and<br />
“Dance With the Guitar Man.”<br />
Another major change occurred in 1965<br />
when he cut two albums for Colpix, a subsidiary<br />
of Columbia Pictures-Screen Gems. Lee<br />
Hazlewood’s former partner Lester Sills was an<br />
executive there. Eddy cut instrumental LPs<br />
“Duane A-Go-Go” and broke new ground with<br />
his melodic “Duane Eddy Does Bob Dylan.”<br />
How did Eddy meet Deed?<br />
“She sang and pursued it for awhile . . . Well,<br />
she did a demo for a friend of hers that I heard<br />
when I was working for Jimmy Bowen. Then I<br />
got to meet her, and bang! That was it! But after<br />
she hung around me awhile, Deed decided<br />
not to have any part of that anymore.”<br />
So why did he give up singing?<br />
“Well I think that was my biggest contribution<br />
to music, when I quit singing.”<br />
Son Chris appears to be a chip off-the-oldblock,<br />
singing and playing multi-instruments including<br />
guitar, bass, violin and organ.<br />
“Chris plays and sings really well,” adds<br />
Dad. “He’s worked around here for a few years.<br />
I remember once he had a band with Larry<br />
Knechtel . . . and the guys all liked him.”<br />
Indeed, Chris, a winning contestant on cable<br />
TV’s Star Searcher, received good reviews for<br />
his “Night Toucher” in 2006 with Rich Vogel<br />
and Ted Roper. Additionally, his resume<br />
inlcudes working in the bands of Shelby Lynne<br />
and Shania Twain, and supplying songs for<br />
Lynyrd Skynyrd and Hank Williams, Jr.<br />
“I also have two daughters,” continues<br />
Duane. “Linda’s my oldest and Jennifer my<br />
youngest. Jennifer tickled the devil out of me<br />
when at age 10 she started writing songs. For a<br />
10-year-old, she wrote some pretty good ones;<br />
at least she had the right idea.”<br />
More notable tracks Eddy played on include<br />
Ray Sharpe’s R&B hit “Linda Lu” (1959, with<br />
pal Al Casey); Nancy Sinatra’s #1 “These Boots<br />
Were Made For Walking” (1966), produced by<br />
Hazlewood; B.J. Thomas’ “Rock & Roll<br />
Lullaby” (1972); and Paul McCartney’s<br />
“Rockestra Theme,” a 1980 Grammy winner.<br />
Oddest disc? In 2004, Duane collaborated<br />
with polka prince Jimmy Sturr, mixing polka<br />
and twang, resulting in “Rebel Rouser Polka.”<br />
Did Duane ever dream how lasting his recordings<br />
would be?<br />
“No, because we were just concentrating on<br />
getting hits and having fun at the time . . . now<br />
we’re regarded as pioneers.”<br />
Duane’s received praise for his cover of B.<br />
B. King’s “Three Thirty Blues,” bringing to<br />
mind a show he played in Oakland, Calif.<br />
“I guess it would’ve been 1961 or ’62. I<br />
didn’t know it at the time, but found out later<br />
that John Fogerty and the entire Creedence<br />
Clearwater Revival band was in the front row<br />
that night. Actually, I didn’t even know who<br />
was on that package show. I knew Jerry Lee<br />
Lewis and I were among the headliners, but we<br />
got there late, coming in from somewhere else.<br />
They double-booked us somehow, but we got<br />
there in time for our portion. I did that song<br />
and was back in my dressing room when this<br />
very well-dressed black gentleman came in and<br />
said, ‘Duane, I gotta give you a big hug. I just<br />
loved that ‘Three Thirty Blues!’ I liked it so<br />
much I gotta kiss you on the cheek!’<br />
“Now I’m just standing there helpless thinking,<br />
‘Who is this guy?’ But it was a very nice<br />
thing to do and obviously he really liked the<br />
blues. Then he let me go and stood back and<br />
said, ‘Oh, I didn’t introduce myself, did I? . . .<br />
I’m B.B. King!’ Then I said, ‘Well it’s MY turn<br />
to hug you and kiss you on the cheek!’ He<br />
laughed, but obviously liked the way I played<br />
his blues.”<br />
In 1966 and 1967, Duane recorded two albums<br />
for Frank Sinatra’s Reprise label, playing<br />
big band hits: “The Biggest Twang of Them<br />
All” and “The Roaring Twangies,” respectively.<br />
Another act he admires is the Everly Brothers<br />
and in 1973 actually produced Phil Everly’s<br />
solo album “Star Spangled Springer” in England:<br />
“That was right after he broke up with<br />
Don (when Phil smashed his guitar and walked<br />
off the Knotts Berry Farm stage in Buena Park,<br />
Calif. July 14, 1973, leaving Don to explain<br />
their bust-up to the crowd).”<br />
Did Duane ever meet Elvis?<br />
“Sure. I went to see him in Vegas in 1971,<br />
but we never worked together. I went backstage<br />
after his show, though I didn’t get to attend his<br />
performance. I met him in his dressing room<br />
and Priscilla was there, too. He seemed pleased<br />
to meet me and invited us to go to his goodbye<br />
party (it was his last night). Priscilla took us up<br />
to the penthouse and at their party were other<br />
artists like Dottie West and Merle Haggard . . .<br />
You know he was everything I wanted him to<br />
be. I watched him inter-act with people. He was<br />
the perfect example of how an artist should be.<br />
I was impressed by that, and he and I sat and<br />
talked until about 7:30 in the morning.”<br />
In 1977, Duane had his final country charting<br />
to date with “You Are My Sunshine” with<br />
Waylon Jennings and Willie Nelson. Also featured<br />
on the track were background vocals by<br />
Deed Eddy, Kin Vassy and Jessi Colter, proving<br />
something of a real family affair.<br />
How did Duane get to collaborate with legendary<br />
sitar player-composer Ravi Shankar<br />
from India?<br />
“That’s a long story. I had the hit with ‘Pe-<br />
ter Gunn’ (with Art of Noise) . . . Then we went<br />
to the Montreaux Music Festival in Switzerland.<br />
There I ran into Jeff Lynne who said, ‘Any time<br />
you want me to do anything for you, let me<br />
know. I know you’re going to get an album out<br />
of this hit.’ And I did.<br />
“Well we got one with Capitol, so I called<br />
Jeff, but he said, ‘Oh, I can’t right now, I’m<br />
working on an album with George Harrison,’<br />
which turned out to be ‘Cloud Nine’ (his 1987<br />
comeback hit). I said OK and hung up. Then 10<br />
minutes later, Jeff called back saying, ‘I mentioned<br />
it to George and he wants to put his album<br />
on hold and do a couple things with you!’”<br />
(Eddy’s 1987 Capitol album was titled simply<br />
“Duane Eddy” and boasted input from fellow<br />
Eddy admirers Ry Cooder, James Burton,<br />
John Fogerty, David Lindley, Steve Cropper and<br />
Paul McCartney.)<br />
“So I went over there and met with (George)<br />
and he was real nice . . . So we started to work<br />
on these things, then George hummed me a little<br />
melody and said, ‘Ravi Shankar taught me this,<br />
but he only gave me this much of it,’ playing<br />
the melody, saying, ‘I love that last note. It’s<br />
the greatest note in the world today.’ So I finished<br />
it out and wrote it up. We made it work.<br />
So George gave us both half writer credits on<br />
the number (‘The Trembler’).<br />
“George was a big fan of Ravi’s and he also<br />
liked my playing, and was delighted to have a<br />
cut by Ravi Shankar and Duane Eddy, who<br />
came from such opposite poles. He said, ‘Who<br />
would’ve thought it?’ George had the publishing<br />
on the song, but kept only 20 per cent for<br />
the administration, splitting the other 80 per cent<br />
between Ravi and me.”<br />
Sharing the mic on the tune were Duane,<br />
George and Jeff. An interesting postscript occurred<br />
when film-maker Oliver Stone used “The<br />
Trembler” in his 1994 satirical thriller “Natural<br />
Born Killers.” That same year Eddy had no<br />
idea his signature song was featured in the Tom<br />
Hanks’ movie “Forrest Gump.”<br />
“I went to the movie and when ‘Rebel<br />
Rouser’ came on, I missed that part of the movie<br />
because I was listening so intently to the song<br />
to see if it was mine or a cover version and then<br />
how it was mastered and if it sounded right.<br />
But it was fine. I had to go back to see the film<br />
again to find out what I’d missed.”<br />
How did his participation come about in the<br />
1996 movie drama “Broken Arrow”?<br />
“Well, I went out to do a little video thing<br />
regarding the ‘Forrest Gump’ bit and met Hans<br />
Zimmer, the movie composer. A couple weeks<br />
later, Hans called and asked, ‘How would you<br />
like to do the music for the bad guy in my next<br />
movie?’ I asked, ‘Who’s the bad guy?’ He said<br />
John Travolta and I answered, ‘Yeah, thank you<br />
very much! I’ll be there!’<br />
“So I went out to his studio in Santa Monica,<br />
a beautiful set-up. He played me the whole score<br />
and I sat there and watched the picture and<br />
played where he told me to. He said he wrote it<br />
with me in mind. Hans said, ‘Everybody imitates<br />
Duane Eddy, but I got the real thing.’ It<br />
turned out good.”<br />
How do you make it fresh playing classics<br />
like “Rebel Rouser” and “Peter Gunn” so much?<br />
“I learned very early on in my teen years<br />
when I’d go to see a show and some artist apparently<br />
got sick of doing their hit ballad the<br />
same way and would maybe speed it up or<br />
change the arrangement - I’d be disappointed.<br />
So once I had a hit I figured most people out<br />
there want to hear it like the record. Although<br />
you couldn’t always sound exactly like the<br />
record, we would emulate what was heard on<br />
the hit pretty close.<br />
“I remember one night thinking I was sick<br />
of playing it the same, but not having lyrics,<br />
you’ve got to communicate with your audience<br />
pretty much with the instrument. I came out that<br />
night and thought some of these people are hearing<br />
this for the first time and some are hearing<br />
it for the first time in a long time, and they’re<br />
not going to know it if I do it differently. Sure<br />
I’ve heard it a million times, but they haven’t -<br />
and they paid to hear it, so it’s important to play<br />
(Continued on page 31)
24 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
By WALT TROTT<br />
Letter,” “Each Night At Nine” and probably the<br />
biggest-selling war song from World War II,<br />
“There’s a Star-Spangled Banner Waving Somewhere”<br />
(a 1942 multi-million smash for Elton<br />
Britt).<br />
Was tickled to see Mac included the old<br />
Pappy O’Daniel standard “Put Me In Your<br />
Pocket,” one my mom used to sing. But was a<br />
bit disappointed he’d altered a few lines from<br />
the way we remember it: “She gave to him her<br />
photograph, upon which she wrote this song/<br />
Put me in your pocket, so I’ll be close to you/<br />
No more will I be lonesome, and no more will I<br />
be blue/Then when we have to part, dear/<br />
There’ll be no sad adieu/For I’ll be in your<br />
pocket and I’ll go along with you . . .”<br />
Then our hero skipped the denouement<br />
verse completely - depicting the returning<br />
soldier’s final tragedy: “That evening soon had<br />
ended/Her darling went away/But when he did<br />
return again, for their happy wedding day/His<br />
sweetheart she was absent/To Heaven she had<br />
gone, but she left to him her photograph/Upon<br />
which she wrote this song . . .”<br />
It’s depressing, of course, but a great melodic<br />
ballad that’s had far too few revivals. Our<br />
research indicates that in the early 1940s Judy<br />
Martin & Her Mountain Rangers did a cover<br />
version, as did several years later, Terry Preston<br />
(Ferlin Husky) and also Hank Locklin.<br />
Wiseman is due special thanks for bringing<br />
back some of these songs (sung by our forebears),<br />
some fast slipping through the cracks,<br />
perhaps never more to be heard. Most notably<br />
“. . . In Your Pocket,” Henry Burr’s “Mary,<br />
Dear,” and the 19th century hearttugger, “One<br />
of the Boys in Blue.”<br />
Another welcome Golden Oldie is Mac’s<br />
superb take on the Bob Wills’ #1 classic “Silver<br />
Due On the Bluegrass Tonight,” written by<br />
Edith Burton, and released as war was winding<br />
down in fall ’45. A surprise is a “live” version<br />
of his near-trademark tune “I Wonder How the<br />
Old Folks Are At Home,” backed uptempo by<br />
Little Roy Lewis on banjo in Washington, D.C.,<br />
wherein Mac’s heard goodnaturedly querying<br />
a bandmember’s lick, “Was that necessary<br />
there?”<br />
These CDs obviously are quite necessary,<br />
judging by the sheer listening delight one derives<br />
from either of these Wise Record releases.<br />
Here’s a chance to get two for a few pennies<br />
less than $20; check with the Ernest Tubb<br />
Record Shop, telephone (615) 255-7503.<br />
Chesney wins big at CMA’s gala<br />
Aaron Tippin, who campaigned for Republican<br />
candidates John McCain and Sarah Palin<br />
awhile ago, is back promoting a new album designed<br />
to appeal to the nation’s truckers.<br />
“In Overdrive,” which he co-produced with<br />
Tim Grogan - under the watchful eye of James<br />
Stroud, executive producer - hit the street Feb.<br />
3, a collaboration of Nippit Records and the<br />
Country Crossing label.<br />
“I’ve had my heart set on doing this album<br />
for a long time,” says Tippin, who once spent<br />
time truckin’. “Now with the current economic<br />
state, I’m reminded of the unsung heroes of<br />
the road, that legion of devoted Americans,<br />
some four million strong, who make their living<br />
in the trucking industry and hammer down<br />
day after day. And I wanted to make this record<br />
for them.”<br />
Mainly a slate of oldies, Tippin’s 14 tracks<br />
benefit from the muscle the singer puts behind<br />
his hard-drivin’, nasally baritone, backed by<br />
superb studio pickers.<br />
The tried-and-true tunes here include: Jerry<br />
Reed’s “East Bound and Down,” Dave Dudley’s<br />
“Six Days On the Road” (also a later Sawyer<br />
Brown success), Ronnie Milsap’s “Prisoner Of<br />
the Highway,” Eddie Rabbit’s “Drivin’ My Life<br />
Away,” Merle Haggard’s “Movin’ On” and Del<br />
Reeves’ dandy “Girl On the Billboard.” For<br />
good measure, there’s even Cledus Maggard’s<br />
#1 novelty number “White Knight.”<br />
A brand new composition Aaron and wife<br />
Thea created, “Drill Here, Drill Now,” is a partisan<br />
paean to establishing oil fields off shore<br />
along the U.S.’s pristine coastline and in the<br />
Alaskan wilderness. The former corporate pilot<br />
debuted it on Sean Hannity’s show and sang<br />
it on the road: “No more debatin’/We’re tired<br />
of waitin’/Everybody shout out loud/drill here,<br />
drill now . . .”<br />
Local 257 members did well indeed at the<br />
42nd annual Country Music <strong>Association</strong><br />
awards, Nov. 12, and union brother Kenny<br />
Chesney again took home the big prize, Entertainer<br />
of the Year!<br />
Last issue’s centerspread artist Brad Paisley<br />
won best male vocalist - and won for his video<br />
Reportedly, “East Bound and Down,” heard<br />
to good advantage in the 1978 flick “Smokey<br />
& the Bandit,” will be Tippin’s premiere single<br />
off the set. We especially enjoyed his take on<br />
“Girl On the Billboard,” and was pleased that<br />
“Waitin’ On a Woman” - while Carrie<br />
Underwood was voted best female vocalist.<br />
Local 257 trio Rascal Flatts earned Best<br />
Group honor; and guitarist Mac McAnally won<br />
Best Musician. Tony Brown, producer, shared<br />
both Best Album trophy for “Troubadour,” and<br />
its single “I Saw God Today” was tops.<br />
Winners also include:<br />
Best Duo, Sugarland; New Act, Lady Antebellum;<br />
Jennifer Nettles’ “Stay” named Song<br />
of the Year; and Local 257 sister Alison Krauss<br />
won Best Musical Event with Robert Plant for<br />
their single “Gone, Gone, Gone.”<br />
(Continued from page 17)<br />
Mac Wiseman may have quit touring the<br />
U.S.A., but he hasn’t stopped making records,<br />
and in fact has a twofer for fans of bluegrass.<br />
Yes, the godfather of bluegrass has just released<br />
an album remembrance of great war<br />
songs, “Waiting For the Boys To Come Home,”<br />
along with another devoted to parlor-type tunes<br />
of yesteryear, “Old Likker In a New Jug.”<br />
A member of the Bluegrass Hall of Fame<br />
since 1993, Wiseman’s currently busy pulling<br />
together his thoughts, and thanks to memorabilia<br />
saved through the years, plans to pen his<br />
autobiography this year. That should be an eyeopener.<br />
Listening to these new collections, it’s easy<br />
to see why he’s still singing, mainly because he<br />
can. How many octogenarians do you know<br />
who have the breath and stamina to sustain<br />
notes, as “The Voice With a Heart” succeeds in<br />
doing here on these acoustic sets.<br />
Little wonder the National Endowment For<br />
the Arts singled him out last fall for its prestigious<br />
annual National Fellowship Heritage<br />
Medal of the Arts, America’s highest honor bestowed<br />
on behalf of the folk and traditional arts<br />
(accompanied by a $20,000 stipend).<br />
A decade ago, producer-promoter Scott<br />
Rouse showed up unannounced to bring his<br />
father’s favorite bluegrass idol back into the studio,<br />
inviting Mac to join Doc Watson and Del<br />
McCoury, recording as the funky GrooveGrass<br />
Boys, who charted their “Country Macarena”<br />
many months. (Rouse has just released a 10th<br />
anniversary edition of their album<br />
“GrooveGrass 1<strong>01</strong>” via iTunes.)<br />
The result was that ol’ Wiseman received<br />
more booking requests for daughter Maxine to<br />
turn down, and eventually invitations to join<br />
Johnny Cash, John Prine and Charlie Daniels<br />
separately in the studio, which he did do, not<br />
bad for a man who started recording more than<br />
60 years ago.<br />
Molly O’Day took a chance on the musical<br />
stripling in the postwar year of 1946, taking<br />
him to Chicago where she cut such classics as<br />
“Tramp On the Street.” Bill Monroe heard him<br />
on Bristol radio and made Mac a Blue Grass<br />
Boy, and by the way, he’s one of the original<br />
Flatt & Scruggs’ Foggy Mountain Boys.<br />
Dot Records signed him solo and during<br />
the 1950s’ his chart hits included covers “The<br />
Ballad of Davy Crockett” and “Jimmy Brown<br />
the Newsboy.” Talk about versatile: In 1979,<br />
Mac mixed it up with big bandsman Woody<br />
Herman on “My Blue Heaven” and “Scotch and<br />
Soda,” then shared the mic that year with bluegrass<br />
boys, the Osborne Brothers, to revive his<br />
country cut “Shackles and Chains.”<br />
On these two latest sets, Mac invites mandolin<br />
master Jesse McReynolds (of Jim & Jesse<br />
fame) as special guest artist. Dave Ferguson did<br />
the engineering duties, at the Butcher Shoppe<br />
Studio in <strong>Nashville</strong>.<br />
Highlighting the “. . . New Jug” selections<br />
are slow country weepers “I’m Thinking Tonight<br />
of My Blue Eyes,” “I Was Seeing Nellie<br />
Home,” “When the Work’s All Done This Fall”<br />
and “Be Nobody’s Darlin’ But Mine.” As close<br />
to uptempo as Mac gets here is “Darlin’ Little<br />
Joe” and “Ballad of the Haunted Woods.”<br />
Mac gets into flag-waving on “Waiting For<br />
the Boys To Come Home,” which also features<br />
“Reveille Time In Heaven,” “Soldier’s Last<br />
Kenny Chesney<br />
. . book celebrates country humor<br />
kitchen.’ The dispatcher said, ‘But how do we<br />
get to it?’ She said, ‘You can come through the<br />
living room or off the back porch, either one.’<br />
He said, ‘I mean how do we get from where we<br />
are to where you are?’ She said, ‘Ain’t you got<br />
one of them red trucks?’”<br />
Charlie Louvin recalling a joke he told a<br />
half-century ago, concerned an irate highway<br />
patrolman who finally succeeded in pulling over<br />
a speeding car that didn’t stop right away: “He<br />
asked him, ‘Why didn’t you stop when I first<br />
put the red light on you back yonder?’ The guy<br />
said, ‘Officer, I’m sorry about that, but when I<br />
seen a state trooper behind me, I remembered<br />
that about two or three months ago my wife ran<br />
off with a state trooper, and I was afraid that<br />
was him bringing her back!’”<br />
MEMBERS’ REMINDER<br />
Remember to attend the next<br />
General Membership Meeting,<br />
slated 6:30 p.m. Wednesday,<br />
March 18, at the George W.<br />
Cooper Hall.<br />
he used the Reeves’ trademarked “Doodle Do<br />
Doo Doo.” Courageous.<br />
Another interesting track is “Ballad of Danger<br />
Dave and Double Trouble.” Though obviously,<br />
this set’s not about to add any new<br />
charttoppers, it’s a solid, workmanlike album<br />
that mostly works well for the artist.<br />
Tippin’s last album - “He Believed” - was<br />
sold mainly through the Cracker Barrel restaurant<br />
chain last year. We gather he’s decided to<br />
go the standard route this time around, so check<br />
out your local retail outlet or try Amazon.com<br />
on the internet. - Walt Trott<br />
. . . Marty Stuart signs accord<br />
(Continued from page 3)<br />
want to get this exactly right, play by the rules<br />
and do it by the book - and make sure everybody<br />
is satisfied in every seat at the table. So<br />
when you’re not trying to do anything wrong,<br />
there’s no problem.”<br />
Amazingly enough, last week Marty and his<br />
Fabulous Superlatives band performed in<br />
Zurich and Rome, before winging their way<br />
back to face the cameras again.<br />
There are just six episodes remaining in the<br />
first season. Local 257’s Eddie Stubbs serves<br />
as announcer, and Marty’s wife Connie Smith<br />
is featured singer.<br />
How has the show rated thus far?<br />
“I really don’t know yet, as I haven’t seen<br />
any Nielsen ratings. But judging by the viewer<br />
response of written mail and e-mails, and the<br />
amount of merchandise orders that come in, it’s<br />
pretty staggering.”<br />
Does he remember first joining the union?<br />
“I sure do. Lester Flatt dook me down to Mr.<br />
George Cooper’s office. Well, he had given the<br />
spiel so many times, that Mr. Cooper was tired<br />
of it, and had put it on a cassette tape. Then he<br />
sat and smoked a cigar, I think, while he played<br />
me that tape. (Marty’s now laughing heartily.)<br />
“I was 13 years old and he played the tape<br />
and said, ‘Now look, this is a big business. Why<br />
don’t you go back home, finish shcool, and<br />
come back and see me in a few years?’ I said,<br />
‘No, sir!’ When he saw he wasn’t going to persuade<br />
me to go back to Mississippi, he brought<br />
Lester in and he paid my initiatiion fee, and it<br />
was understood that Lester would take $5 a<br />
week out of my paycheck to pay that back.<br />
“Mr. Cooper asked, ‘How much did you<br />
have in mind to pay this boy?’ It was considerably<br />
less than what the others in the band made.<br />
‘Now Lester, if he’s going to be doing everything<br />
else that the others in the band will be<br />
doing, you might want to bring that number up<br />
a little bit.’ So Mr. Cooper hit up Lester on my<br />
behalf to get me a better paycheck than I was<br />
originally to get!”<br />
Archie Campbell related how a traveling<br />
salesman stopped at a country store and saw a<br />
man playing checkers with a dog, and said,<br />
“That’s the smartest dog I ever saw. The man<br />
said, ‘Oh, he ain’t so smart. I beat him three out<br />
of five times.’”<br />
Indeed, they lit up the stage, delivering<br />
laughs to lighten the load for a musical troupe,<br />
ensuring audiences would come back again for<br />
such well-rounded entertainment.<br />
Randy Franks, who in addition to acting and<br />
fiddling, is a syndicated newspaper columnist:<br />
“Mr. Jones is recognized as one of the true authorities<br />
on the humor and traditions of our region.<br />
For 23 years he was director of the Appalachian<br />
Center at Berea College. It is such an<br />
honor to be recognized and included with so<br />
many of my comedic heroes such as Wendy<br />
Bagwell, Jerry Clower, Minnie Pearl and ‘Doc’<br />
Tommy Scott and friends and contemporaries<br />
such as Jeff Foxworthy and Ron Thomason and<br />
so many more.”<br />
Jones takes Southern humor back to its last<br />
century origins in vaudeville and radio barndances,<br />
then brings it right up to television’s<br />
Hee Haw and onto today’s blue collar comedy<br />
scene. The result is both informative and highly<br />
enlightening.
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 25<br />
Dean of <strong>Nashville</strong> guitarists to focus on AFM position<br />
Shortly after he succeeded guitarist Harold<br />
Bradley for Local 257’s presidential post, Dave<br />
Pomeroy summoned your editor to discuss the<br />
post-election edition. He suggested an article<br />
on Harold Bradley, citing his respect for his illustrious<br />
career and many years of service to<br />
Local 257 and the AFM.<br />
Dave recalled a time that he and Harold had<br />
worked together with Harold’s brother Owen<br />
Bradley, producing Brenda Lee at Bradley’s<br />
Barn in Mt. Juliet. The band included Buddy<br />
Harman, Floyd Cramer and Hal Rugg.<br />
“Cutting it all at once with that amazing<br />
band, Brenda’s vocal, 12 live strings and six<br />
singers, it was a sound and a feeling, I’ll never<br />
forget,” said Dave, who’s played on record with<br />
everyone from Emmylou Harris to Elton John.<br />
Harold and his wife Eleanor.<br />
Bradley’s amazing recording span began in<br />
1946 with his first session, accompanying Pee<br />
Wee King & His Golden West Cowboys to<br />
Chicago in mid-winter. This occurred three<br />
years after having hit the road the first time as a<br />
teen-ager on summer break from Isaac Litton<br />
High School, touring with Ernest Tubb’s Texas<br />
Troubadours.<br />
Born <strong>Jan</strong>. 2, 1926 in <strong>Nashville</strong>, Harold<br />
Ray Bradley first learned to play banjo<br />
(which came in handy in the 1950s playing<br />
Dixieland), and joined Local 257 at 16. After<br />
a U.S. Navy stint, Harold attended Peabody<br />
College on the Vanderbilt University campus,<br />
under the GI Bill.<br />
One of Harold’s more memorable early sessions<br />
was for King Records (1947), backing<br />
R&B favorite Ivory Joe Hunter: “In that recording<br />
session held at Castle Studios (in the old<br />
Tulane Hotel), I was the only white musician.<br />
Fact is, I’ve got that recording at home. Of<br />
course, they misidentified me on the record.<br />
They said it was Owen Bradley on guitar. I took<br />
it to Owen and said, ‘This is why you’re rich<br />
and famous, and I’m not. They keep getting us<br />
mixed up . . .’ And they did that on my first solo<br />
album (‘Misty Guitar’), identifying Owen as my<br />
guitar player, but as long as he and I knew who<br />
we were, it was OK.”<br />
Incidentally, mention of Castle reminds us<br />
that Harold, along with pianist Owen, drummer<br />
Farris Coursey, bassist George Cooper<br />
(then Local 257 president) and singer Snooky<br />
Lanson cut the first session in that historic studio<br />
- a commercial for Shyer’s Jewelers.<br />
Harold Bradley<br />
In 1952, Owen and Harold opened their Bradley<br />
Film & Recording studio downtown, and<br />
after a couple moves, bought an old house on<br />
16th Avenue, which with the addition of a<br />
quonset hut, they converted into a major recording<br />
facility (now owned by Mike Curb). Literally,<br />
it was the start of Music Row.<br />
Thanks to such A&R pioneers as Steve<br />
Sholes, Ken Nelson, Don Law, Chet Atkins and<br />
Owen, Harold became a first-call studio guitarist.<br />
As one of the heralded A Team of session<br />
players, he sat in with fellow pros Grady Martin,<br />
Hank Garland, Bob Moore, Floyd Cramer,<br />
Ray Edenton, Buddy Harman, Pig Robbins,<br />
Tommy Jackson and Charlie McCoy, all of<br />
whom played a part in developing the fabled<br />
<strong>Nashville</strong> Sound, which kept Music City humming<br />
along during the rock insurgence.<br />
“We didn’t realize we were making history,”<br />
said Harold, who did numerous sessions a day,<br />
sometimes sleeping on a cot in the studio. “We<br />
thought we would wake up one morning and<br />
this recording industry would be gone . . .”<br />
Harold participated in the recording of hits<br />
ranging from Ray Anthony’s 1952 fad “The<br />
Bunny Hop” to John Anderson’s “Swingin’,”<br />
1983 million-seller. Artists he’s played for include<br />
Hank Williams, Red Foley, Brenda Lee,<br />
Buddy Holly, Kitty Wells, Perry Como, Patsy<br />
Cline, Elvis Presley, Roy Orbison, Loretta Lynn,<br />
Conway Twitty, Tammy Wynette, Henry<br />
Mancini, Burl Ives, Roger Miller and Joan Baez.<br />
He’s also the picker who fostered the ’60s<br />
Tic-Tac style of playing guitar, reminiscent of<br />
Zeke Turner’s and Sammy Pruett’s earlier playing<br />
(on the bass strings). That was true later of<br />
Luther Perkins with Johnny Cash.<br />
Guitar Player magazine’s Jon Sievert called<br />
Bradley the world’s most recorded guitarist. He<br />
was especially proud to play on the Owen Bradley<br />
Quintet crossover Coral hit, “Blues Stay<br />
Away From Me,” recorded in 1949 (and according<br />
to Billboard, #7 country, #11 pop).<br />
Aside from his own solo albums, Bradley<br />
also produced veterans acts Slim Whitman and<br />
Eddy Arnold, and newcomer Mandy Barnett.<br />
His guitar stylings can be heard on some 40<br />
movie soundtracks, including a trio of Presley<br />
pictures: “Kissin’ Cousins,” “Clambake” and<br />
“Stay Away, Joe.”<br />
In union matters, George Cooper, Jr. was<br />
his mentor, having served 36 years, the longest<br />
of any Local 257 president. Of course, Bradley’s<br />
the second-longest serving leader with 18 years<br />
as president, and is equally proud of the constituency<br />
and how the union’s progressed.<br />
“If you think about what happened to<br />
Muscle Shoals (Ala.) and Memphis,” said<br />
Harold. “Their best players moved to <strong>Nashville</strong><br />
because they were being paid on a weekly salary<br />
and found out they could make as much in<br />
a three-hour union session here as they were<br />
making in a week. We got all the great players<br />
from those towns, whose recording has practically<br />
died as a result.”<br />
Harold was the first president of the National<br />
Academy of Recording Arts & Sciences’<br />
<strong>Nashville</strong> chapter, and also has served on the<br />
Tennessee Film, Entertainment & Music<br />
Commission’s advisory council. In 1990, he was<br />
elected president of Local 257, and has served<br />
as Trustee to the Board of Directors for AFM’s<br />
Employers’ Pension Fund, was president of the<br />
AFM Southern Conference, and in 1999, became<br />
the AFM’s International Vice President,<br />
a position he still fills.<br />
In 2006, Harold Bradley was inducted into<br />
the Country Music Hall of Fame, where Owen<br />
was enshrined in 1974, making them the only<br />
behind-the-scenes’ brothers inducted to-date.<br />
Harold became a charter member in the International<br />
<strong>Musicians</strong>’ Hall of Fame in 2007, along<br />
with fellow A Teamers.<br />
On Aug. 26, 2008, the Bradley family -<br />
Owen, Harold, Patsy, Jerry and Connie - were<br />
collectively acknowledged as Music Row’s First<br />
Family with Leadership Music’s Dale Franklin<br />
Award. (Patsy, long affiliated with BMI, and<br />
her brother Jerry, former RCA head, are the children<br />
of Owen. Connie Bradley, who heads up<br />
ASCAP-<strong>Nashville</strong>, is Jerry’s wife.)<br />
To what does Harold attribute his success?<br />
“Versatility. I think that was a big consideration<br />
. . . I played Dixieland on banjo; I play<br />
country; I’ve worked with (18) Rock & Roll<br />
Hall of Famers . . . I’ve gone all the way from<br />
Bill Monroe to Henry Mancini - and that’s a<br />
pretty good stretch, a wide variety of music. I<br />
would advise anyone coming up to play all different<br />
kinds of music, if they can.”<br />
Harold Bradley says ‘Thank you . . .’ to fellow members and staff<br />
Dear Members:<br />
As I leave this office as President of the<br />
<strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong>, Local 257,<br />
I will take many wonderful memories with me.<br />
I will always fondly remember the musicians,<br />
who supported me during the many trials<br />
and tribulations that occurred these past 18<br />
years.<br />
During my Presidency, I was privileged to<br />
watch the scale wages of the recording musicians<br />
grow from $6 million to $15 million a<br />
year. I’m proud of my role for negotiating with<br />
the gospel recording companies, resulting in<br />
their signing the recording agreement (SRLA).<br />
I also was involved in Symphony negotiations<br />
that raised the average wages from $19,000 a<br />
year to $52,000 a year.<br />
As a 67-year member, I was proud to see<br />
the Local go from a one-room office to owning<br />
outright its own building. I look forward to our<br />
new officers maintaining <strong>Nashville</strong>’s position<br />
as a major recording and entertainment center.<br />
I encourage all members to support their officers.<br />
After the 9-11 financial crisis of Local 257,<br />
I determined that I would stay until the Local<br />
was financially stable. I am proud to state that<br />
as of Dec. 31, 2008, the day I left office, Secretary-Treasurer<br />
Billy Linneman informed me<br />
that all of Local 257’s bills were fully paid.<br />
Speaking of former Secretary-Treasurer<br />
Linneman, I would like to say that Local 257<br />
and myself were truly blessed to have Billy<br />
Linneman as our Secretary-Treasurer for the<br />
past five-and-a-half years. Billy is not only<br />
musically and mathematically talented, he is a<br />
very honest, sincere and hard-working man.<br />
Thanks Billy!!<br />
I leave behind a dedicated staff of office employees<br />
who are the best of the best. They all<br />
know their jobs and are hard workers. Thanks<br />
staff! I love Local 257 and will still be representing<br />
its members as the International Vice<br />
President and as a Pension Trustee. Just stay in<br />
touch with me. You can visit my website<br />
BradleyHarold@ATT.net<br />
Fraternally yours, Harold Bradley<br />
Norm Ray<br />
Norm Ray waxes nostalgic<br />
Saxophonist Norm Ray has played on<br />
records for the likes of Elvis Presley (“I’m 1,000<br />
Years Old”), Paul McCartney (“Wide Prairie”),<br />
Willie Nelson (“Me & Paul” ), J. J. Cale (“Anyway<br />
the Wind Blows, The Anthology),” and Ray<br />
Stevens (“Everything Is Beautiful/Unreal!”),<br />
but numbers among his fondest memories a<br />
breakfast show he did at WSM.<br />
A Local 257 Lifetime Member, Ray remembers<br />
vividly playing on WSM’s Waking Crew<br />
program. Called the Crew’s “resident hippy,”<br />
Ray’s strong point was improvisations, including<br />
his character creation “Death Valley Norm.”<br />
Others who became regulars on the one-hour<br />
and 15-minute morning program over time, included<br />
hosts Dave Overton, singer Teddy Bart,<br />
Rhyming Weatherman Bill Williams, fellow<br />
newsman Mike Donegan (Donegan’s<br />
Doodlins’), bandleader Bill McElhiney, guitarist<br />
Jack Shook, trombonist Clarence (Dutch)<br />
Gorton, bassist George Cooper, Jr. (also Local<br />
257 president), singers Dottie Dillard, Delores<br />
Watson, clarinetist Harry B. Johnson (The Old<br />
Angler), singers Marty Browne, Carolyn<br />
Darden, Kay Golden, Tom Grant, saxophonist<br />
Jack Gregory, bassist Rex North, trombonistphotographer<br />
Beverly LeCroy, guitarist John<br />
Pell, drummer Terry Waddell, singer Darlene<br />
Austin, Professor Maxwell Lancaster (Dr.<br />
Philologue), Lou Muex (Prize Lady), pianistbandleader<br />
Joe Layne, trumpeter Ron Keller,<br />
sportscaster Larry Munson, sports director<br />
George Plaster, Ralph Emery succeeding Bart<br />
as M.C., and engineers Terry Farris and Chuck<br />
Sanford, among others.<br />
The popular program grew out of a Jack<br />
Stapp a.m. show titled Eight O’Clock Time, featuring<br />
music master Beasley Smith (known for<br />
hits “That Lucky Old Sun” and “Night Train<br />
To Memphis”). Launched in 1951, the spontaneous<br />
and wacky Waking Crew continued for<br />
more than 30 years, first broadcast from WSM<br />
Studio B, boasting a live audience. Other home<br />
bases: The Hermitage Hotel’s Grill Room, and<br />
the WSM TV studios (Knob Hill) in suburban<br />
<strong>Nashville</strong> (sans audience).<br />
Dutch Gorton, Local 257’s Secretary-Treasurer<br />
during his Waking Crew tenure, reportedly<br />
offered sage advice to promising musicians<br />
who hoped to succeed in Music City. When he<br />
picked up his instrument to join LeCroy, their<br />
“Twin Tombones” bit made them the Waking<br />
Crew’s best known act.<br />
According to an anniversary feature in the<br />
Columbia, Tenn., Daily Herald newspaper<br />
(dated March 21, 1982), saluting their high ratings:<br />
“While everyone makes his own contribution,<br />
some members of ‘The Crew’ are louder<br />
and zanier than others, and perhaps the title of<br />
Waking Crew Jester properly belongs to Norm<br />
Ray. Always quick with a quip, Ray is well<br />
known for his characterizations: The Vanderbilt<br />
Fan, The Belle Meade Belle, Death Valley Norm<br />
and The Senator. A master of accents, Ray can<br />
improvise a comic monologue from almost any<br />
situation.”<br />
Apparently both Ray and Joe Layne kept<br />
host Ralph Emery on edge due to their tendency<br />
to deliver off-color commentary. But Norm<br />
noted, “For just plain crude, Joe is the winner<br />
hands-down. My crude has a bit of finesse!”<br />
Aah, sweet nostalgia. -WT
26 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
It’s Miller time, Sonny that is<br />
Remembering a lifetime of music, and ones who made it possible<br />
By WALT TROTT<br />
Drummer-vibraphonist Sonny Miller has<br />
enjoyed a long and multi-faceted music career,<br />
having been sideman, bandleader, talent coordinator,<br />
booking agent and a dominant force in<br />
big band circles.<br />
Veteran Nashvillians may remember him<br />
best leading local orchestras, before moving on<br />
to broaden his horizons in New York, Florida<br />
and California.<br />
“I was born in Lebanon, Tenn., and back<br />
then it was an all-day trip to get into <strong>Nashville</strong>,”<br />
says Miller, christened Allia T. Miller, Jr. “Of<br />
course that was my father’s name, but I never<br />
heard of anyone else named Allia - and nobody<br />
knows it today, because I’m always called<br />
Sonny.”<br />
We chatted nearly an hour on the phone with<br />
Miller, who was at home in Burbank, Calif.<br />
So why were drums the instrument of choice?<br />
“I started playing drums after listening to radio.<br />
I always enjoyed keeping time to the music,<br />
so when I was 12 years old, I got a set of<br />
drums (the Slingerland brand). By the time I<br />
was 14, I was playing a lot of places around<br />
<strong>Nashville</strong>.”<br />
He recalls that his first paying gig was at<br />
age 14, playing the Elks Club in <strong>Nashville</strong>.<br />
What was a particularly memorable gig?<br />
“I played for the Cheeks on their houseboat<br />
(of course, the Cheek family - Leon and Joel -<br />
founded Maxwell House Coffee),” replies<br />
Miller, adding, “You know, I was awfully young<br />
to be playing that type of party.”<br />
After moving to <strong>Nashville</strong>, the Millers lived<br />
on Hollings Street: “I attended East High<br />
School. Originally, I took piano lessons and<br />
learned chords (from George Jackson). I was<br />
taught chords and the chords took me through<br />
everything. I picked up on the vibraphone, but<br />
didn’t have lessons on those. I did take steel<br />
guitar lessons at one time, and Bobby Martin<br />
was my teacher. But I didn’t pursue guitar at<br />
all.<br />
“I couldn’t tell my mother, but I played every<br />
joint in town including the Black Diamond,<br />
all the little places and made $2 a night.”<br />
Sonny also performed with a group headed<br />
up by Bob Curry on WLAC-<strong>Nashville</strong>. Another<br />
gig that springs to mind was playing Shacklett’s<br />
Cafeteria, along with George Jackson playing<br />
organ: “Then I just started playing all the various<br />
events around town.”<br />
This prompted Sonny, now a Lifetime Member,<br />
to join the <strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong>’<br />
AFM Local 257 on Sept. 17, 1936, shortly<br />
after his 17th birthday (Sept. 12). He has retained<br />
his <strong>Nashville</strong> membership ever since:<br />
“George Cooper was president, and Robert<br />
Payne was secretary at the time.”<br />
While in New York, Miller would join AFM<br />
Local 802, and later Los Angeles’ Local 47.<br />
“I still pay my dues there. (President) Hal<br />
Espinosa and I are friends. He used to be in Les<br />
Brown’s band back when I put them on cruise<br />
ships. I actually had my band on 11 different<br />
cruise ships. Life on the ships was unbelievable.<br />
I booked entertainment for Princess<br />
Cruises 17 years (including The Love Boat).”<br />
Did Sonny ever learn to read music?<br />
“I was not a fast reader. When I played vibraphones,<br />
I learned chords primarily, and was<br />
kind of following Lionel Hampton’s style. And<br />
you know, I came to know him well.”<br />
Sonny Miller on drums, though he doesn’t play now.<br />
Sonny Miller’s Orchestra played The Palms, <strong>Nashville</strong>, 1939. That’s the bossman on drums.<br />
Once he got enough experience, Sonny began<br />
fronting his own bands, playing mostly jazz:<br />
“We played house parties and all that stuff. Back<br />
then, <strong>Nashville</strong> had a good number of dance<br />
bands - and liquor by the drink was illegal.”<br />
Owen Bradley was an inspiration to Sonny:<br />
“I would go to every show he ever played back<br />
then. Did you know Beasley Smith? He had that<br />
great (WSM) show Sunday Down South, and<br />
wrote some wonderful songs (‘That Lucky Old<br />
Sun’), and I think he was Owen’s mentor.”<br />
Among fellow drummers Sonny knew were<br />
Farris Coursey, Otto Bash, Walter Lenk and<br />
Buddy Harman. In drummer Paul Broome’s<br />
book “The Other Music City” (co-written with<br />
trumpet player Clay Tucker), Miller’s<br />
misidentified as “Johnny” Miller in a photo and<br />
accompanying text regarding his combo in New<br />
York City.<br />
“I was disappointed because otherwise it’s<br />
a pretty good account of the band days in <strong>Nashville</strong>,”<br />
says Miller. “Otto Bash called and apologized<br />
for the mistaken identity in their book.”<br />
During World War II, relates Miller, “I<br />
joined the Navy and they sent me into the Maritime<br />
Service, on a small island between Brooklyn<br />
and Staten Island called Hoffman Island.<br />
The band we had there was led by (violinist)<br />
Emery Deutsch, who wrote ‘Play, Fiddle, Play.’<br />
In this band was Buddy Morrow who played<br />
trombone and did the famous instrumental recording<br />
of ‘Night Train.’<br />
“Whenever I wasn’t doing my naval duty -<br />
teaching people how to abandon ship - I played<br />
in the band. When they needed a marching band,<br />
I was in it. Now these were all very good musicians<br />
. . . I was there four years (and playing<br />
weekend gigs off duty).”<br />
In New York City, Miller’s band indeed<br />
played such sought-after venues as The Stork<br />
Club, the Waldorf Astoria Hotel, and The Pied<br />
Piper Club, a jazz spot where Dizzy Gillespie<br />
and other greats would drop in. Miller’s Pied<br />
Piper combo included former <strong>Nashville</strong> musicians<br />
Tommy Knowles on tenor sax, and vocalist<br />
Bobby Johnston, who was Gene Howard’s<br />
brother (who sang with Stan Kenton - think<br />
‘How Many Hearts Have You Broken’). While<br />
in New York, Johnston sang with the legendary<br />
Paul Whiteman’s unit.<br />
Another memorable musician Sonny<br />
worked with was Barney Kessel, one of the finest<br />
guitarists he ever encountered, and a fivetimes<br />
winner of Downbeat’s jazz guitar polls.<br />
“Almost every night columnist Walter<br />
Winchell came into the Stork Club and sat over<br />
to the side, as well as Hollywood celebrities,<br />
and even J. Edgar Hoover (FBI chief).”<br />
Could it be Hoover heard Sonny’d once<br />
played Greenwich Village and was checking up<br />
on what he figured was a Bohemian musician?<br />
“No,” Sonny chuckles. “I was a pretty good<br />
kid and never got into booze or drugs.”<br />
Other New York bookings included the<br />
fabled upstate Catskill Mountain resorts, where<br />
Miller’s crew found themselves backing household-names<br />
like Red Buttons and Milton Berle.<br />
Another favored booking Miller played was the<br />
Traymore Hotel in Atlantic City.<br />
“I had trios, I had four-men, five-men and<br />
15-men bands, whatever the occasion called for.<br />
I got into booking the band and also played in<br />
the smaller groups. In the 1947 Downbeat Poll<br />
on trios, I placed 12th with my trio while playing<br />
the Syracuse Hotel in Syracuse, N.Y. We<br />
were there three months and would broadcast<br />
every night. That was the year the Nat (King)<br />
Cole Trio was #1, and actually I was ahead of<br />
Les Paul’s. No big deal. The point is, I worked<br />
all the time.”<br />
In New York’s off-season, his contingent<br />
played Palm Beach, Fla., during their winter<br />
months’ high tourist time, appearing with such<br />
notables as Sophie Tucker and Morton Downey<br />
at the Riviera Club.<br />
“I played the San Carlos Hotel in Pensacola<br />
twice,” continues Miller. “We also played the<br />
Tampa Terrace Hotel in Tampa. That was nice,<br />
but remember there was no air-conditioning<br />
back then. So it wasn’t as comfortable as now.<br />
“I have been very fortunate myself to be<br />
among the best musicians and I get along well<br />
with so many of them, but I never felt I was in<br />
their class,” confides Miller. “Yet, I always had<br />
a band and was able to get work when a lot of<br />
them couldn’t.”<br />
Shortly after migrating to California, the<br />
Miller band played the mezzanine of the popular<br />
Roosevelt Hotel, a Hollywood landmark frequented<br />
by show business elite, and site of the<br />
first Academy Awards’ ceremony in 1929.<br />
Sonny also played singer Harry Babbitt’s CBS<br />
radio program, featuring Bill Schaeffer, another<br />
<strong>Nashville</strong> native who’d played trombone with<br />
Francis Craig’s Orchestra (“Near You”).<br />
“Harry had the #1 hits ‘Three Little Fishies’<br />
and ‘Who Wouldn’t Love You’ (in Kay Kyser’s<br />
Orchestra). He was a really nice guy. It was a<br />
morning show and he made a point of mentioning<br />
my name several times. I was very lucky.”<br />
Then Miller became an agent and subsequently<br />
began his Hollywood film phase, appearing<br />
in numerous movies during the 1950s<br />
and ’60s, often playing a sideline musician,.<br />
“I was on screen but you never knew if you<br />
were going to be recorded or not. I did several<br />
Frank Sinatra movies, including ‘The Joker is<br />
Wild’ (the story of comedian Joe E. Lewis), and<br />
I was in Mike Todd’s ‘Around the World in 80<br />
Days.’ I played vibes with Sophia Loren in a<br />
scene from ‘Houseboat’ (with Cary Grant). Let’s<br />
see, I was also in two with Danny Kaye, ‘The<br />
Five Pennies’ (about jazz great Red Nichols) -<br />
‘There were six different bands on screen in<br />
‘Five Pennies’ and I was in each of them’ - and<br />
‘White Christmas’ (with Bing Crosby, Kaye and<br />
Rosemary Clooney).<br />
“I also played Rosemary Clooney’s (TV)<br />
show twice. She was a wonderful singer and I<br />
have some pictures of her from that time . . . ”<br />
Yet another singer he worked with was<br />
torchy Julie London (“Cry Me a River”): “I did<br />
a thing with her at NBC. It was a commercial. I<br />
think she was married to piano player Bobby<br />
Troup at the time (who also appeared in ‘The<br />
Five Pennies’).”<br />
Miller’s own favorite pianist was Dave<br />
Harris: “I had him with me 15 years, and he<br />
was the greatest. He had been with the Raymond<br />
Scott Quintette (which had the 1937 Top 10<br />
novelty number ‘Dinner Music For a Pack of<br />
Hungry Cannibals’). They were one of the great<br />
groups. Dave did all the Bing Crosby shows<br />
and the Colgate Comedy Hour.”<br />
Among dance bands Miller booked were<br />
Les Brown & His Band of Renown, Freddie<br />
Martin’s Orchestra, Nelson Riddle’s and Harry<br />
James’ band.<br />
“I booked Les Brown until he died (<strong>Jan</strong>. 4,<br />
20<strong>01</strong>). His original drummer Don (Kramer) is<br />
my best friend. He played for Les at Duke University,<br />
where the band started. Well, he’s now<br />
95 and in good health. You know, on the road<br />
he used to travel with Doris Day, the band’s<br />
singer . . . Of course, Les backed Bob Hope,<br />
whom I also knew. He loved big band music<br />
and especially Les Brown.”<br />
Miller has a son Patrick: “You know he’s<br />
got a drum tattoo on his arm, but he never made<br />
a penny playing professionally.”<br />
Sonny and Hedda Miller have been wed 20<br />
years.<br />
“She’s a great wife,” adds Miller, who says<br />
they travel a lot, having visited such foreign<br />
ports as Australia, New Zealand and England.<br />
Meanwhile, Miller feels fine except for eye<br />
troubles: “I’ve got Macular Degeneration, so<br />
my vision’s really terrible.”<br />
That hasn’t stopped his involvement in the<br />
Big Band Academy activities, chief of which is<br />
saluting musical greats of yesteryear during the<br />
organization’s annual reunion.<br />
“I’ve been on their board of directors 20<br />
years. Last June, we honored Stan Freberg, even<br />
though he did novelty numbers (a la ‘John and<br />
Marsha’), but you know he’s a pretty good<br />
singer. We also saluted The Modernaires, now<br />
carrying on with Paula Kelly, Jr. (a 1940s’ vocal<br />
group known for hits ranging from ‘To Each<br />
His Own’ to ‘Zip-A-Dee-Doo-Dah’ and once<br />
sang with Glenn Miller’s band). We also honored<br />
Peter Marshall, the former band vocalist<br />
(Bob Chester Orchestra), who hosted ‘Hollywood<br />
Squares’ (and brother to late screen star<br />
Joanne Dru). This is a good organization and<br />
we hold that reunion every year at the<br />
Sportsman’s Lodge, though we’ll be changing<br />
the venue next year. Mainly, we’ve honored big<br />
bands such as Louis Bellson, Tex Beneke, Billy<br />
May and, of course, Les Brown.”<br />
Sonny (on vibes) in New York, had fellow Nashvillians Tommy Knowles and Bob Johnston in his combo.
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 27<br />
Community outreach . . . and more<br />
Volunteer musicians needed<br />
Donicè Kaufman, Director of Youth and<br />
Wellness at The League for The Deaf and Hard<br />
of Hearing, is reaching out for volunteers. There<br />
will be a special camp weekend coming up this<br />
May, and it would be wonderful for the kids to<br />
have some first-hand musical experiences.<br />
Through some research, Donicè and I have<br />
learned that percussion/drums, bass, guitar and<br />
harp are instruments that are conducive to being<br />
comprehended by people who are deaf and<br />
hard of hearing, since their vibrations can be<br />
felt more readily.<br />
I volunteered, last summer, to give percussion/drum<br />
and some basic music lessons to the<br />
children attending camp and I must say that it<br />
was an incredibly rewarding experience. I can<br />
still see their smiles as they played various percussion<br />
instruments and drums. Some of the<br />
kids actually astounded me with how quick they<br />
picked it up and how good they played.<br />
This is a wonderful way to spread the joy of<br />
music to a segment of our community that usually<br />
gets ignored when it comes to music. Please<br />
consider this opportunity that promises to be<br />
fun, educational and challenging for both you<br />
and the students.<br />
Lir Corbitt learns to drum with aid of instructor<br />
Craig Krampf and interpreter Beth Moss.<br />
Jazz station WMOT on endangered list - here’s how YOU can help?<br />
Dear Local 257 members:<br />
WMOT-FM, <strong>Nashville</strong>’s flagship jazz station, is in serious danger of losing its funding due to<br />
impending budget cuts at Middle Tennessee State University. One of our members with long-time<br />
MTSU involvement has suggested that an e-mail and letter-writing campaign to the President of<br />
MTSU, Dr. Sidney McPhee, could help turn the tide. The following is a suggestion for any of you<br />
to use if you like, but PLEASE feel free to write your own. WMOT has been a huge part of our<br />
music scene for many years, and has always promoted <strong>Nashville</strong> jazz artists alongside national<br />
names. Our community would lose a very important voice if WMOT is silenced. This is a unique<br />
opportunity for us to make a difference in our community. I will be sending an e-mail and a snail<br />
mail letter, and urge you do the same. PLEASE take a moment to let MTSU know how you feel.<br />
Thanks, Dave Pomeroy<br />
Dr. McPhee’s E-mail address is: smcphee@mtsu.edu - For letters, his address is:<br />
Dr. Sidney McPhee, President, Middle Tennessee State University, Murfreesboro, TN 37132<br />
As you have heard, state budget cuts are forcing<br />
Middle Tennessee State University to end<br />
many campus activities, including their awardwinning<br />
jazz public radio station, WMOT-FM<br />
Jazz89. The final decision will be made soon,<br />
so we are asking you to join a city-wide effort<br />
to save this important outlet for classic American<br />
jazz.<br />
“A great nation deserves great art." Too<br />
many of our current generation are totally unaware<br />
of their own cultural heritage. The history<br />
of American music begins with the jazz<br />
and blues of the Mississippi Delta. Without<br />
WMOT, there will be no daily access to classic<br />
mainstream jazz, almost no access to jazz-related<br />
programming from NPR, and significantly<br />
Letter/E-mail Example . . .<br />
To: Dr. Sidney McPhee, MTSU, President, Murfreesboro, TN 37132<br />
From:<br />
Re: WMOT-FM funding<br />
Dear Dr. McPhee: As a member of the <strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong>, AFM Local 257, and<br />
the greater <strong>Nashville</strong> community, I am very concerned about the news that MTSU is considering<br />
cutting future funding of WMOT, one of the finest radio stations to be heard anywhere. WMOT’s<br />
jazz and community programming is an indispensable part of our music scene here and is an<br />
important source of information, art, and culture for an audience that ranges far beyond the<br />
student body of MTSU and the confines of Murfreesboro. I urge you to carefully consider all of<br />
the negative consequences of taking WMOT-FM off the air, before making any decision of this<br />
magnitude.<br />
Respectfully, (Your name and address)<br />
Jazz pioneer Austin Bealmear calls on Local 257 members to join in the campaign to save renowned jazz station<br />
A Night of Burnin' Love, a tribute to Local<br />
257 member and legendary songwriter Dennis<br />
Linde at the <strong>Musicians</strong>’ Hall of Fame & Museum<br />
on Feb. 9, lived up to its promise of a<br />
high octane event.<br />
Hosted by actor James Marsden and Dennis'<br />
daughter Lisa, the show was a benefit for<br />
the Coalition for Pulmonary Fibrosis (PF), the<br />
disease that claimed Dennis’ life (see<br />
www.coalitionforpf.org).<br />
Obviously, attendees were wowed by both<br />
the music and the message. PF is an insidious<br />
disease that has been under the radar too long,<br />
and Vanderbilt’s in the midst of research that<br />
it’s hoped will lead to a breakthrough soon.<br />
The music proved outstanding, thanks to a<br />
Please call or e-mail me: Craig Krampf, telephone<br />
(615) 244-9514, Extension 224, or e-mail<br />
me at: craig@afm257.org<br />
Feel the vibes! These players enjoy their unique musical<br />
experience at the League for The Deaf and Hard<br />
of Hearing (front row): Latesha Shannon, Mohamed<br />
Mogow, Tyreasha Cowan, Lir Corbitt, Ayman Abdul<br />
Shaheed, Erika Nobrega, Tre Dobbins, and (standing)<br />
Justin Southerland,volunteer, with Craig Krampf,<br />
instructor, and Donice Kaufman, program director.<br />
Lawmaker’s ‘privilege tax’<br />
proposal strikes sour note<br />
Memphis-based Tennessee Legislative Rep.<br />
G. E. Hardaway has proposed that professional<br />
athletes and those entertainers whose incomes<br />
totals $50,000 annually “should pay to play.”<br />
The state lawmaker says funds raised by such<br />
a “privilege tax” could benefit Juvenile Court<br />
programs immensely.<br />
Former Titans’ wide receiver Chris Sanders<br />
says such a tax would not sit well with some<br />
grid-iron players: “There is going to be some<br />
griping a little bit; guys get upset when they<br />
pay a lot of taxes, because they get taxed in so<br />
many areas.”<br />
AFM Local 257’s new President Dave<br />
Dennis Linde tribute concert proves to be a grand night for a great cause<br />
crack band of Local 257 members led by Bergen<br />
White and a variety of guest vocalists, including<br />
Joe Nichols, Mark Chesnutt and the surprisingly<br />
soulful Marsden, running through a<br />
variety of Linde hits, including “Goodbye Earl,”<br />
“Bubba Shot the Jukebox,” sung by Chesnutt;<br />
Ben Lee's soulful rendition of “Walkin' A Broken<br />
Heart,” originally recorded by Don Williams;<br />
and the finale “Burnin' Love,” featuring<br />
hit songwriter Jim Collins filling for Elvis.<br />
It was the proverbial great night for a great<br />
cause in a great atmosphere at Joe Chambers’<br />
<strong>Musicians</strong>’ Hall of Fame & Museum. If you<br />
haven't checked out the MHFM, do so soon, as<br />
it may get eaten up by the proposed convention<br />
center!<br />
Pomeroy feels that such an additional tax would<br />
be a further burden on musicians, some of<br />
whom are already struggling just to pay their<br />
membership dues.<br />
Bassist Pomeroy stated, “Mr. Hardaway's<br />
bill suggesting a ‘privilege tax' for professional<br />
entertainers and athletes is laughable in its<br />
premise, but also insulting to our community<br />
less support for live jazz events and recordings<br />
by local jazz artists. Without WMOT's website<br />
and streaming audio, local jazz artists will no<br />
longer be heard daily around the world. And<br />
you won't be able to hear JAZZ On The Side,<br />
the only syndicated jazz documentary show<br />
produced in the South.<br />
Yes you can help by joining a letter-writing<br />
campaign to convince MTSU to keep WMOT<br />
on the air, by attending events to rally support<br />
and raise money for WMOT, and by watching<br />
for other efforts to save this cultural treasure.<br />
Please send your e-mail or letters to either<br />
MTSU President Dr. Sidney McPhee, Room<br />
<strong>01</strong>10, Bld.g CAB, MTSU, Murfreesboro, TN<br />
in a time when intellectual property is under<br />
attack and professional musicians struggle to<br />
make a living in the digital age, when music is<br />
perceived to be ‘free.’ Music isn't free - we work<br />
for a living. While we all share his concern<br />
about funding the juvenile court system, I respectfully<br />
suggest that Mr. Hardaway look elsewhere<br />
for a more equitable solution.”<br />
Sound Health Care program now in place<br />
AFM Local 257 is proud to announce that as of Feb. 10, 2009, the Sound Health Care plan,<br />
originally developed by the CMA and Vanderbilt, is now available for the first time to our members<br />
free of any additional membership charges. Your current 2009 membership in Local 257 is<br />
all you need to qualify to apply for this plan. In the past, you had to be a dues-paying member of<br />
CMA, RMA <strong>Nashville</strong>, IBMA, GMA or NSAI to be eligible. Just go to www.afm257.org and<br />
click on the Sound Health Care logo.<br />
When this plan was first shown to Local 257 more than a year ago, I was very impressed not<br />
only with the plan but also by the passion and dedication of its administrator, R.J. Stillwell. He<br />
has been a songwriter and musician before entering the Health Care business and has a unique<br />
understanding of the special challenges that musicians face in getting and keeping, affordable<br />
health insurance. The Local did not join the group plan at that time, but we were able to offer it<br />
to RMA <strong>Nashville</strong> members last August.<br />
For those with major medical issues, R.J. Stillwell points out, “I do think we need to clarify<br />
one element in order to manage expectations, as this isn't a true group guarantee issue plan. All<br />
Local 257 members who apply will need to go through the underwriting process for approval,<br />
and so Sound Health Care offers several plans with different underwriting criteria. As such, our<br />
issue rate and premium savings far exceeds industry norms, and as a music industry advocacy<br />
organization, we will help you navigate the process. And should someone be uninsurable, we<br />
will provide counsel in exploring possible solutions."<br />
Many Local 257 members have already switched to this plan in its previous incarnations and<br />
are saving money and getting better coverage. As the Sound Health Care family grows, it will<br />
help keep rates affordable. As part of our on-going effort to provide meaningful services to our<br />
members, we are proud to finally offer this “<strong>Nashville</strong> <strong>Musicians</strong> <strong>Association</strong> Sound Health<br />
Care” group plan to ALL Local 257 members. For more information - contact R. J. Stillwell, 555<br />
Church St., Suite 2403, <strong>Nashville</strong>, TN 37219. T: 615.256.8667, F: 615.256.2098 e-mail:<br />
musicrow@aol.com<br />
- Dave Pomeroy<br />
37132, or Dr. Roy L. Moore, Dean of the College<br />
of Mass Communication, to let them know<br />
how strongly we support WMOT. Also let them<br />
know that you will support WMOT financially,<br />
if the station survives, as it will need a serious<br />
increase in individual contributions.<br />
Remember us on-line<br />
Members, the entire issue of The<br />
<strong>Nashville</strong> Musician is also on our<br />
website for your convenience, or you<br />
can receive it via e-mail. Check it out<br />
via www.AFM257.org<br />
Rally to the cause!<br />
Help keep WMOT-FM on the air<br />
. . . Write letters or send e-mails!
28 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
David Briggs, a product of Muscle Shoals<br />
By WALT TROTT<br />
Being an outgoing sort of guy can pay big<br />
dividends, but you better have the talent to back<br />
it up.<br />
Just ask pianist-producer-songwriter David<br />
Briggs, who is quick to credit his breaks to notables<br />
like James Joiner, Floyd Cramer, Owen<br />
Bradley and Elvis Presley.<br />
Since playing his first studio session at age<br />
14, David’s had a knack for hanging out in the<br />
right circles. On the music scene that’s included<br />
having colleagues like Norbert Putnam, Rick<br />
Hall, Billy Sherrill, Felton Jarvis, Kelso Herston<br />
and Cecil Scaife.<br />
So David jumped at an opportunity to honor<br />
two of his yesteryear contacts, both at the same<br />
time - Elvis Presley and Cecil Scaife - last February.<br />
Briggs joined in the <strong>Nashville</strong> Celebrates<br />
Elvis Presley all-star concert benefitting the<br />
Cecil Scaife Music Business Scholarship Endowment,<br />
enabling deserving students to attend<br />
Belmont University. (Scaife pioneered<br />
Belmont’s 1970s’ music business program, as<br />
well as working behind-the-scenes for Sam<br />
Phillips’ Studios, and founded the Gospel Music<br />
<strong>Association</strong>.)<br />
“I was the concert’s Music Director,” explains<br />
Briggs. “I wrote all the charts, came to<br />
all their meetings, talked to the artists, conducted<br />
and played the piano . . . I didn’t mind<br />
because it was for a good cause . . . Shane<br />
Keister was great, he did the strings for us.”<br />
Sharing the bill entertainment-wise at the<br />
SRO show were B. J. Thomas, Pat Boone,<br />
Wanda Jackson, The Jordanaires, Ronnie<br />
McDowell, T. G. Sheppard, Vince Gill, Amy<br />
Grant, Wynonna Judd, D. J. Fontana, The<br />
Stamps Quartet, Millie Kirkham, James Burton,<br />
Larry Paxton, Norbert Putnam, Steve<br />
Turner, Harold Bradley, Danny Parks, Steve<br />
Turner, the Palmetto State Quartet and Joe<br />
Guercio. Most participants had some connection<br />
to the King of Rock & Roll.<br />
Prior to meeting Presley, Alabama-born<br />
Briggs helped lay the groundwork for the fabled<br />
Muscle Shoals Sound, specifically in Rick<br />
Hall’s historic FAME Studio, helping to make<br />
it a regional recording center.<br />
We got with David at Local 257, initially to<br />
promote the second annual <strong>Nashville</strong> Celebrates<br />
Elvis, since canceled. That’s all the excuse we<br />
needed for an opportunity to talk about David’s<br />
musical exploits, leading to his induction into<br />
the Alabama Music Hall of Fame in 1999,<br />
alongside Bobby Goldsboro, Wilson Pickett and<br />
The Temptations.<br />
David Paul Briggs was born March 16,<br />
1943 in Killen, Ala., and learned to play piano<br />
as a youngster. He also plays guitar, organ<br />
and synthesizer.<br />
So what did songwriter James Joiner (whose<br />
“A Fallen Star” was a 1957 near-charttopper<br />
for Jimmy C. Newman and a cover hit for Ferlin<br />
Husky) have to do with our subject?<br />
“At age 14, he had me playing guitar in his<br />
studio,” recalls Briggs. “James started Tune<br />
Records (Alabama’s first record company) and<br />
had success with ‘A Fallen Star.’ He wanted to<br />
cut some good demos. But I had to get rides<br />
there, because I was too young to drive. He liked<br />
the way I played (and paid David $5 an hour).<br />
“That’s when I first met Kelso Herston,<br />
James’ partner, who was already living in <strong>Nashville</strong>.<br />
Kelso brought Jimmy Newman down for<br />
that session. That’s also how I met Jerry<br />
Carrigan, who was playing drums, having<br />
started at 12, a couple years before me.”<br />
James’ family ran Joiner Transit, a bus company,<br />
and upon his discharge from the Army,<br />
James launched Tune Publishing with GI buddy<br />
Kelton Herston (in 1956), who went by the nickname<br />
Kelso. Both were Florence natives.<br />
“James was the first guy to start anything<br />
down in our part of the country during my era,”<br />
adds Briggs. “He and Kelso had their studio in<br />
the bus station. Back then, a lot of us cut records<br />
in radio stations like WOWL-Florence (which<br />
also had a television outlet). We cut records<br />
there sometimes, on so-called town and country<br />
artists.”<br />
Carrigan and Briggs hooked up with guitarists<br />
Terry Thompson, lead; Earl (Peanut) Montgomery,<br />
rhythm; and Norbert Putnam, bass.<br />
“Montgomery played on some things with<br />
us, not everything,” notes Briggs. “Usually he<br />
played rhythm, but he was an excellent bass<br />
player. He’s one of the musicians on Arthur<br />
Alexander’s (R&B hit) ‘You Better Move On,’<br />
but he wasn’t a real rock and roll guy. His heart<br />
was in country (and he co-wrote Dave Dudley’s<br />
smash ‘Six Days On the Road’). He later helped<br />
me and took me to a studio across the street<br />
called Spar Music, a publishing company.”<br />
Later, Briggs would become half owner of<br />
Spar. It’s also where David met Rick Hall and<br />
Billy Sherrill.<br />
Billy’s from Phil Campbell, Ala., Norbert’s<br />
from Green Hill, Ala., all within a 30-mile radius<br />
of the Quad Cities that encompass Muscle<br />
Shoals, Florence, Sheffield and Tuscumbia.<br />
“You know Billy Sherrill was always good<br />
at coming up with names, and Billy suggested<br />
(the acronym) F.A.M.E., which came from the<br />
title Florence Alabama Music Enterprise, and<br />
Rick used it.”<br />
According to Briggs, when Hall started that<br />
studio, “We went over there and became the<br />
first to record there at Muscle Shoals. The other<br />
guys who call themselves the originals played<br />
at his Muscle Shoals Sound Studio, which is in<br />
Sheffield (Ala.).”<br />
Briggs, Carrigan, Putnam, Thompson and<br />
sometimes Montgomery recorded at FAME,<br />
and helped create successes for up-and-coming<br />
acts like Arthur Alexander, The Tams,<br />
Jimmy Hughes, Joe Tex and Tommy Roe.<br />
“We would also go out with Tommy on the<br />
road,” says Briggs. “On one such trip we got to<br />
open with him for The Beatles in Washington,<br />
D.C. (during their first U.S. tour).<br />
“Felton Jarvis produced Tommy and later<br />
Elvis. We cut hits on The Tams, a big R&B<br />
group. Felton produced them, and he brought<br />
us a lot of business down there. It was after we<br />
had that hit on Arthur Alexander’s ‘She Done<br />
Me Wrong’ that drew him down there. Felton<br />
and Ray Stevens were brothers-in-law, having<br />
married sisters.<br />
“After Ray had ‘Ahab the Arab,’ he cut his<br />
stuff down there, like ‘Mr. Baker the Undertaker,’<br />
songs like that. Ray arranged a lot of<br />
things back in those days, and he was a good<br />
one, too. When I came up here, I did a lot of his<br />
sessions as an arranger.”<br />
Actually, recording-wise Rick Hall initially<br />
had singer-songwriter-guitarist Dan Penn (who<br />
co-wrote “Do Right Woman”) and his bandsmen<br />
cutting tracks first off, in an old Florence<br />
tobacco warehouse.<br />
The set of Muscle Shoals’ session aces<br />
Briggs refers to in the studio on 3614 Jackson<br />
Highway, boasted Roger Hawkins, Jimmy<br />
Johnson, David Hood and Barry Beckett, whose<br />
playing enhanced the hits of greats like Percy<br />
Sledge, Aretha Franklin, Wilson Pickett, Etta<br />
James, Clarence Carter and Candi Staton. Of<br />
course, there were others supporting Shoals<br />
Sound Studio sessions (see page 1), notably<br />
Junior Lowe, Duane Allman and those the <strong>Musicians</strong>’<br />
Hall of Fame cited as “Friends,” Pete<br />
Carr, Spooner Oldham, Clayton Ivey, Randy<br />
McCormick and Will McFarlane.<br />
While in Alabama, Briggs also began writing<br />
his songs, signing with Rick Hall’s publishing<br />
company. Among David’s successes were<br />
“Taste of Heaven,” which he co-wrote with<br />
Jimmy Rule, a Top 20 for Jim Ed Brown, and<br />
wrote B sides to James Gilreath’s 1963 Top 20<br />
“Little Band of Gold” and Percy Sledge’s “High<br />
Cost of Leaving.”<br />
“Most of these were written before I came<br />
to <strong>Nashville</strong>,” continues Briggs. “There were<br />
scattered things. I had the backside of Tommy<br />
Roe’s hit ‘Everybody,’ but didn’t get paid. Supposedly,<br />
Lawrence Welk covered an instrumental<br />
release ‘Tender Teardrops,’ though I never<br />
heard it and never received any money for it.”<br />
David believes it was 1959 or ’60 when he<br />
journeyed to Music City to cut a record for Sam<br />
Phillips’ label then called Phillips, though the<br />
players all called it Sun. Cecil Scaife was Sam’s<br />
man in <strong>Nashville</strong> at the time.<br />
“I remember the studio then was on Seventh<br />
Avenue. Well, Billy Sherrill, who was from<br />
my home area was engineer, janitor and everything<br />
else. Kelso Herston produced the record<br />
on me.That’s why I had Jerry Kennedy and a<br />
lot of the big guys playing on my record. And I<br />
had Pig Robbins playing piano! I wouldn’t play<br />
because I wanted Pig to play.”<br />
David was in college when he was 16: “As<br />
I skipped a couple grades in high school . . .<br />
Cecil always believed in me and encouraged<br />
me in the business.”<br />
Briggs made his sporadic trips to <strong>Nashville</strong><br />
to pitch tunes, and in doing so got to know<br />
people like Scaife and Decca chief Owen Bradley,<br />
both he came to regard as mentors.<br />
“Owen had like the kiss of death in listening<br />
to songs. I mean he would hear about eight<br />
bars and stop the recorder if he wasn’t interested,<br />
then quickly move on to the next selection.<br />
When I went back up with some songs, I<br />
had one titled ‘Imagine,’ long before The<br />
Beatles came around. That was about 1960. Incidentally,<br />
when I went with The Beatles later,<br />
I told John (Lennon) about it, saying ‘I had one,<br />
but it’s not as good as your’s.’<br />
“One of my songs, ‘My Dreams,’ I had<br />
pitched Owen for Brenda Lee, but he didn’t<br />
care for it. He asked who the singer was? I told<br />
him I couldn’t get the gal who usually did my<br />
demos, so I sang it myself. He was surprised it<br />
was me.”<br />
The Phillips’ single didn’t do anything to<br />
advance David’s career, so he continud to push<br />
ahead: “Down there in Alabama, I was still singing,<br />
writing and playing, and making trips to<br />
<strong>Nashville</strong> . . .”<br />
Once after listening without finding any cuts<br />
that caught his ear, “Owen asked if I had anything<br />
else? I said I’d play some for him on the<br />
piano. He asked, ‘You play?’ So when he heard<br />
my playing, he said, ‘You play great!’ Then he<br />
told me, ‘I’m doing some auditions for Decca.<br />
I’ve got to sign another artist pop, so you come<br />
to the audition. I’m not saying I’ll sign you, but<br />
you’ve got a good shot.’<br />
“That’s where I met Wayne Carson. He was<br />
a great songwriter, better than me and a better<br />
singer, too. I’ll never forget that . . . He and I<br />
just sort of stared at each other, because it came<br />
down to him or me.<br />
“Then Owen brought us both back up together.<br />
In those days, going up those stairs to<br />
his office was like going up to God in Heaven!<br />
I remember the pressure we felt. Well, he sat us<br />
down, saying, ‘I can’t make up my mind between<br />
you, so I’m going to sign you both.’ Neither<br />
one of us ever had a big hit. He went on to<br />
ABC. (Later, Wayne charted four singles, but<br />
none made Top 40, though one - ‘Barstool<br />
Mountain’ - did become a Moe Bandy Top 10.)”<br />
David moved to <strong>Nashville</strong> in 1964, when<br />
Decca signed him. “I remember when I cut for<br />
Owen, he wanted me to play piano, but I said<br />
no, mainly because I wanted Floyd Cramer<br />
playing on my record.”<br />
Briggs’ very first release was Bob<br />
Montgomery’s ballad “When I Think Of You,”<br />
backed with “Leave Her To Me,” which Brad-<br />
ley had been holding for Brenda Lee: “He<br />
thought it might be a good girl’s song . . . Northern<br />
stations like WLS-Chicago favored the ballad,<br />
while the South was playing ‘Leave Her<br />
To Me,’ it was pop not country.”<br />
Decca’s new pop artist didn’t score any hits,<br />
but notes, “I was once in line to record ‘Wooden<br />
Heart,’ which went to Joe Dowell (#1, 1961),<br />
signed by Shelby Singleton to Smash.”<br />
“After putting 30 or 40 songs with the publisher<br />
in Alabama, I got discouraged with writing<br />
and almost quit . . . The first week I was<br />
here in <strong>Nashville</strong>, I made $800, and would’ve<br />
been lucky to make that in a year down there.”<br />
David began playing regularly in the studio,<br />
thanks to his contacts with Bradley, Scaife,<br />
and others such as Shelby, Chet Atkins and Don<br />
Law.<br />
“Floyd became one of my biggest supporters.<br />
He’d call me 8 in the morning and say,<br />
‘What are you doin’ today?’ I’d say, ‘Nothin’<br />
man.’ He’d say, ‘Be at RCA 10, 2 and 6, I’m<br />
goin’ fishin’ . . . Bye.’ Sometimes it would be<br />
something I didn’t like, for back then I didn’t<br />
particularly like doing gospel - and it would be<br />
the Blackwood Brothers . . . but then, of course,<br />
it paid the same.”<br />
Briggs was reliable and became known for<br />
his versatility.<br />
“Flatt & Scruggs had me come in and play<br />
piano, just for the rhythm, but you never did<br />
hardly hear it on the record. They didn’t want<br />
you to hear it.”<br />
“On one day I might go to a morning session<br />
with a country artist like Webb Pierce or<br />
Red Foley; but at 2 o’clock maybe do Roy<br />
Rogers cutting a cowboy album; then at 6 play<br />
for Al Hirt, who had a 50 or 60 piece orchestra.<br />
Perhaps then we’d go in with Elvis at 10 and<br />
stay till next morning. But I liked playing a variety<br />
of music. I didn’t really want to play just<br />
country, and my background is in R&B.”<br />
It was in 1965 that Floyd was slated for a<br />
Presley session, but was also booked at<br />
Bradley’s Barn with Bill Anderson, and planned<br />
when that studio time was completed, to hurry<br />
over to Studio B.<br />
“It was a 6-9 session and was going to get<br />
through late. So I was hired as a stand-in with<br />
Floyd’s approval and with Mary’s, Chet’s assistant<br />
(who Felton later wed),” says Briggs.<br />
“So I was just gonna play until Floyd got there.<br />
We were playing for his ‘How Great Thou Art’<br />
album, and I recorded ‘Love Letters,’ a nongospel<br />
song.”<br />
Elvis was so pleased by his playing that even<br />
when Floyd returned, he kept David on playing<br />
organ. Through the years, David continued<br />
to back Elvis in the studio and also on the road,<br />
including a three-week Las Vegas gig when the<br />
rock king was backed by a huge orchestra.<br />
“We did a couple records on Elvis where I<br />
used the clavinet on them, like ‘Way On Down’<br />
and he just loved that sound (a clavinet is an<br />
electronically amplified clavichord analogous<br />
to an electric guitar). Elvis was going to Pontiac,<br />
Mich., for a 1976 New Year’s Eve show; it was<br />
called ‘The world’s biggest New Year’s Eve<br />
concert.’ He said, ‘I want you to come and to<br />
make all the noise that you can. Bring that clarinet<br />
or whatever you call it.’ He never could get<br />
the name right. I think he was kinda scared playing<br />
before all those people. He ripped his pants<br />
on that show.”<br />
Later, David produced “The Elvis Medley”<br />
shortly after he’d died: “We put a medley together,<br />
but it wasn’t necessarily done in the order<br />
that showed his career. I put on some of my<br />
favorite Elvis songs like ‘Don’t Be Cruel,’<br />
‘Love Me Tender’ and ended with ‘Suspicious<br />
Minds.’ I actually spliced, edited and stopped<br />
it, then came back and opened up The<br />
Jordanaires again, and kept nothing of the original<br />
records but Elvis, and put a big chorus . . .<br />
on the end . . . retarded it and ended it.<br />
“Jimmy Bowen went nuts! He wanted me<br />
to do one on Conway Twitty and wanted to<br />
know how I did it . . . It was just editing. Oh, it<br />
took me awhile because you’re working with<br />
older tapes. Titled ‘The Elvis Medley,’ it’s got<br />
a beautiful cover. We used cartoon characters
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 29<br />
on it. MTV played them; Elvis cartoon characters<br />
playing around the pool. It did pretty good<br />
(when released in 1982).”<br />
Another challenge for Briggs was producing<br />
The Monkees’ Michael Nesmith: “I met The<br />
Monkees by playing on their things and Michael<br />
and I became friends. He asked me to produce<br />
one of his first solo albums.That was when he<br />
did the first part of ‘Elephant Parts,’ which was<br />
the first video we done. I was going through<br />
some strange stuff at the time, part of it being<br />
Elvis and Linda Thompson, which I don’t mind<br />
mentioning now, but back then I wouldn’t say<br />
anything about it.”<br />
Linda Thompson, of course, is the former<br />
Miss Tennessee who was Presley’s girlfriend<br />
for nearly five years, appeared on the syndicated<br />
TV series Hee Haw, co-wrote with Briggs,<br />
and was also wed to Olympic swimmer Bruce<br />
Jenner and later composer David Foster.<br />
“Michael was going through the same thing<br />
with his wife and best friend, a very similar situation,”<br />
continues Briggs. “So my head wasn’t<br />
even into his album, but I stayed with him and<br />
did all the tracks, until it was finished. I told<br />
him I wanted to quit the job, and didn’t really<br />
want anything to do with it. He didn’t understand<br />
that, but I told him my head wasn’t into<br />
it, and didn’t feel like I did a good job. So I<br />
didn’t get credit, but Michael gave me a little<br />
pay-off later after it sold a few records. It was<br />
an emotionally-strange sort of thing. I’ve still<br />
got pictures of he and I.”<br />
Despite his busy studio schedule, Briggs<br />
found time to perform in a band of session players<br />
called Area Code 615, its name derived from<br />
<strong>Nashville</strong>’s telephone code. The players recorded<br />
back-to-back albums “Area Code 615”<br />
and “A Trip In the Country” in 1969 and 1970,<br />
respectively.<br />
The band of all-stars included Briggs on piano;<br />
Norbert on bass; Weldon Myrick on steel;<br />
Kenny Buttrey, drums; Mac Gayden; Pete<br />
Wade, dobro; Charlie McCoy, harmonica; and<br />
Wayne Moss, lead guitar.<br />
“Elliot Mazer produced this at Cinderella<br />
Studios for Polydor Records (with an assist<br />
from Buttrey). It’s developed a cult following.”<br />
Mazer worked in the studio with such VIPs<br />
as Santana, Sinatra, Switchfoot and The Who.<br />
Area Code 615’s smooth blending of blues, rock<br />
and country were expemplified by their singles<br />
“Southern Comfort” and “Why Ask Why.”<br />
“You know, before going into the studio we<br />
played baseball out in the yard, just prior to<br />
cutting stuff,” grins Briggs. “Who pulled that<br />
sound together? Well, the other guys will be mad<br />
if I say in an interview that Mike Nesmith’s the<br />
one that put those sounds together or that<br />
Charlie McCoy made it work. Charlie was the<br />
most serious musician, and still is.”<br />
With Jerry Kennedy, Briggs cut the successful<br />
Top 40 1987 instrumental “Hymne”<br />
for Mercury, but credited it to Joe Kenyon, the<br />
name being an inside joke: “The reason being<br />
that if it succeeded we didn’t want to go on the<br />
road to plug it. Well, we did do a few station<br />
promotions, and made the cover of R&R (trade<br />
weekly). But they got calls from like The Tonight<br />
Show inviting us on. We were busy with<br />
studio work.”<br />
David explained that their nom de plume<br />
came from Jerry’s attorney, inspired by<br />
Kennedy’s initials J.K., resulting in Joe Kenyon.<br />
For the most part, did producing give him a<br />
greater sense of satisfaction?<br />
“I never did want to be a producer. But the<br />
thing that I’ve done that paid me more than the<br />
Elvis stuff was Willie Nelson’s ‘Shotgun Willie’<br />
album (1973). I was producer on that, coming<br />
in behind Jerry Wexler (Atlantic’s executive<br />
producer) and Arif Mardin, the great producer<br />
who just died a few years back.”<br />
Briggs worked on the set in both <strong>Nashville</strong><br />
and Memphis. He smiled recalling the time he<br />
and Willie were being interviewed on TV regarding<br />
their project: “The guy asked him which<br />
is the most important, the music or the lyrics?<br />
Willie said, ‘Let me think on that while you talk<br />
to David.’ So I said, ‘Well, you can’t hum a<br />
lyric.’ Willie laughed, he liked that.”<br />
In 1988, he began production on a (Virgin<br />
Records) project that warmed his heart, working<br />
with Roy Orbison: “I started some good stuff<br />
with Roy, but unfortunately you’ll never hear<br />
it. Don Was was president . . . I was the leader<br />
on it and Don just loved it, but it was completely<br />
redone after Roy’s untimely death (Dec. 6,<br />
1988).<br />
“Then Barbara, Roy’s widow, wanted me to<br />
redo the songs with different musicians. She<br />
wanted me to take Reggie Young off the track<br />
and add Eric Clapton. I said, ‘I’m not going to<br />
do it.’ Roy loved Reggie and once even said,<br />
‘Man, that’s my favorite guitar player.’ So a lot<br />
of those songs, she and the guy from England<br />
did with name musicians. She wanted as many<br />
name players as she could get.<br />
“I produced the vocals that were on that album<br />
(‘King of Hearts,’ released in 1992), and I<br />
did get credit on one track ‘Wild Hearts Run<br />
Out of Time,’ a theme for a movie considered<br />
about Marilyn Monroe and Albert Einstein. One<br />
of my writers wrote it. We produced the<br />
soundtrack on Roy and got credit for that.”<br />
It was probably in 1990, says Briggs, when<br />
Owen Bradley approached him about re-doing<br />
some of the Patsy Cline product. “He said,<br />
‘We’re going to do all the Patsy Cline stuff over.<br />
I’ve managed to isolate her voice . . .’ and had<br />
those Korean three-tracks, I think they were,<br />
and her voice was totally isolated, singing all<br />
those haunting classics. Owen said, ‘What I<br />
want you to do is totally change it, hire a rhythm<br />
section, strings, the whole bit and write the arrangements<br />
. . .’<br />
“I said, ‘Oh my God, I’m gonna get crucified<br />
and all these critics will say, ‘You’re messing<br />
with the classics.’ Owen said, ‘They already<br />
have that other stuff! I did that 30 years ago,<br />
whatever. I want to do another to show these<br />
songs could’ve been done another way, like we<br />
do today.’ So I hired Reggie (Young) and all<br />
the more modern guys and we produced a totally<br />
different album. Owen loved it. But a lot<br />
of people hated it. Well, they forgot to put my<br />
name on it and Owen apologized.<br />
“When they put out a single - it may have<br />
been a version of ‘Faded Love’ - it says ‘Arranged<br />
by David Briggs’ . . . When he was still<br />
mixing, they sent me a tape and Owen wrote<br />
on there, ‘It’s not quite there, but it’s almost<br />
there.’ I still have that.”<br />
With good buddy Norbert Putnam, he<br />
opened the <strong>Nashville</strong>-based Quadrafonic Studios:<br />
“We had Quad together, starting out in ’69<br />
on thru ’79. We could trust each other. Norbert<br />
had the savvy and daring, with adventure in his<br />
heart. Ours was the first studio with three-channel<br />
headphones, a choice of stereo - all the singers<br />
wanted themselves louder than anything -<br />
That studio was the first to offer anything more<br />
than monaural in this town. And we had Quad-<br />
8 - we thought the four-channel sound was going<br />
to be the big thing, but as it turned out, it<br />
wasn’t, because the consumer couldn’t afford<br />
to buy the hardware.<br />
“When we sold it, I had to sign a three-year<br />
non-compete clause. So officially, House of<br />
David started in 1982, though I already had the<br />
studio, but before that just for me. I couldn’t<br />
open it to the public; actually I built that studio<br />
with Elvis in mind, but he died before we got it<br />
finished. I had already quit the road with him,<br />
though we were going to do some of his stuff<br />
in there.”<br />
Who was the first to record in Briggs’ latest<br />
studio?<br />
“Joe Cocker was the soulful antithesis of like<br />
nothing I was doing. He was the first guy to<br />
use my House of David, so I started off with a<br />
big one . . . Neil Young cut ‘House of Gold’ in<br />
the studio.”<br />
For some 20 years, David and co-director<br />
D. Bergen White were music directors for the<br />
Country Music <strong>Association</strong>’s awards shows.<br />
Briggs also did This Country’s Rockin’, a 10hour<br />
HBO Special; and a 2-1/2 hour TV Special<br />
in tribute to Grand Ole Opry comic grand<br />
dame Minnie Pearl.<br />
Briggs’ playing’s heard on the recordings of<br />
such artists as Barbara Mandrell, Kenny Rogers,<br />
Loretta Lynn, Mark Chesnutt, Reba McEntire<br />
and Tom Jones.<br />
Smiling, Briggs points out, “I played on two<br />
or three of his albums, but I never met Tom<br />
Jones. Back in the early 1980s I could’ve met<br />
him one time in Los Angeles, as he wanted me<br />
to come out and do the strings. But I would have<br />
missed like 20 sessions. You used to not cancel<br />
sessions. That was the kiss of death.”<br />
Who’s his favorite producer to work with?<br />
Unhesitantly he replies Owen Bradley:<br />
“When I was playing piano for Owen, he could<br />
put the fear of God in you, because he expected<br />
that you were able to do it. You never got to<br />
play piano until it’s time to cut. He played the<br />
piano and rehearsed with the strings, the whole<br />
group and the arrangements. You’re just standing<br />
there. Everybody’s used to what he’s played,<br />
and he was playing some incredible stuff, then<br />
he’d say, ‘OK, let’s roll it!’ You’ve got to sit in<br />
and he’s recording it and you haven’t even run<br />
through it. All of a sudden, Owen might say,<br />
‘Bring it up a half-step,’ which may have taken<br />
it from B-flat to B-natural, which changed all<br />
the music and you’re transposing . . . I did that<br />
because I was scared to death, and you know<br />
what, I’m glad I did.<br />
“After working for him, playing for all those<br />
David Briggs recently at the Union.<br />
Following session, Tommy Roe (guitar) with Muscle Shoals associates (from left) Rick Hall,<br />
Jerry Carrigan, Felton Jarvis, Ray Stevens, David Briggs and Norbert Putnam.<br />
Roy Orbison, Jeff Carlton and David Briggs take a break from recording.<br />
- Kathy Shepard photo<br />
other producers was a joke. Owen actually knew<br />
what he was doing. Most of the others didn’t<br />
know anything; they’d just set the clock and sit<br />
in there and drink. But listen to his records, how<br />
great they still are.”<br />
It was in 2000 that David stepped back after<br />
45 years working steady: “I quit and<br />
wouldn’t even go downtown for a year. I was<br />
just burned out.”
30 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
Legislation & Labor reporting<br />
President Pomeroy and Secretary/Treasurer<br />
Krampf have been invited by AFM President Tom<br />
Lee to be part of the AFM's Legislative Action<br />
Committee.The committee also includes AFM<br />
Director of Government Relations Hal Ponder and<br />
AFM Local officers from New York, Chicago, Los<br />
Angeles, and Atlanta. All will participate in sharing<br />
ideas and plans for upcoming legislative action<br />
and events.This year is shaping up to be an<br />
important year for legislation that affects musicians<br />
and creative performance rights.<br />
Local 257 supports the AFM's "$2 Drive" to<br />
fund the AFM Legislative Action Fund (formerly<br />
known as TEMPO). This Fund is used to promote<br />
musician-friendly legislation and support those<br />
legislators who are working with the AFM to pass<br />
important bills like the Performing Rights Act<br />
which is currently before Congress. A mere $2 is<br />
the requested donation but you can donate any<br />
amount through the Local and we will pass it on<br />
to the AFM Legislative Action Fund.<br />
Beginning with a preliminary AFM caucus on<br />
Feb. 18, President Pomeroy will be in Los Angeles<br />
participating in the Motion Picture and Television<br />
Negotiations between the AFM and the TV<br />
and Film Industry on behalf of Local 257. Dave<br />
will also attend the AFM's Western Conference<br />
in San Diego the weekend of Feb. 20, and return<br />
to L.A. for the actual Negotiations that begin on<br />
Feb. 23. Drawing on his experience as one of two<br />
Rank and File negotiators for Phono recording,<br />
Dave will be looking out for <strong>Nashville</strong> musicians'<br />
best interests in the Film and TV worlds.<br />
Secretary-Treasurer Krampf along with a small<br />
diverse group of Local 257 members will be guests<br />
at a luncheon/meeting at Lowe's Vanderbilt Friday,<br />
Feb. 20. Rep. Jim Cooper and perhaps, Rep.<br />
Marsha Blackburn, will be in attendance along<br />
with representatives, officers and members from<br />
AFTRA, The AFM and The Recording Academy.<br />
The topic of discussion will be the latest status of<br />
the current campaign to get Performance Rights<br />
legislation enacted by Congress, so that the artists<br />
and musicians who create recorded performances<br />
and the music labels who invest in the creation of<br />
those musical performances get royalties when<br />
their music is played on AM/FM radio, like almost<br />
everywhere else in the world<br />
An update from Hal Ponder, AFM Director of<br />
Government Relations. The recent inauguration<br />
of President Obama and the beginning of the 111th<br />
Congress means that it is time to ramp up our performance<br />
rights campaign for this year. As many<br />
of you may remember, this past summer AFM and<br />
the MusicFIRST coalition hosted many AFM<br />
members and other musicians in Washington, D.C.,<br />
so that they could lobby members of Congress on<br />
performance rights. As a result, the House Judiciary<br />
Subcommittee on Courts, the Internet and<br />
Intellectual Property approved our performance<br />
rights bill. That was a good beginning. This year,<br />
we intend to have the bill passed by the House<br />
and Senate. To launch this effort we will have a<br />
lobbying “fly-in” on March 3.<br />
For those that may not recall, the MusicFIRST<br />
coalition is made up of 13 founding organizations,<br />
Agenda items for the 6:30 pm. Wednesday, March 18,<br />
General Membership meeting in George Cooper Hall.<br />
(Continued from page 1)<br />
being proposed by officers and board members of AFM Local 257 to the existing By-Laws of the <strong>Nashville</strong><br />
<strong>Association</strong> of <strong>Musicians</strong>. For information on these and any other information needed, prior to the<br />
next General Membership meeting, feel free to contact Secretary-Treasurer Craig Krampf at his office,<br />
or telephone (615) 244-9514, Extension 224, or via e-mail: craig@afm257.org<br />
Free Speech By-Law change proposal<br />
Whereas, Local 257 By-laws contain two sections:<br />
Article II, Section 7 – “Any member found guilty of fraud upon the <strong>Association</strong>, or as an<br />
accessory thereto, or who imperils the interest of any member or members shall, after due<br />
trial and conviction by the Hearing Board, be fined an amount to be determined by the Hearing<br />
Board, and approved by the Executive Board.”<br />
Article III, Section 2 – “Any member who by improper conduct, in any way becomes a disgrace<br />
to this <strong>Association</strong>, or who imperils its interest and existence, might, upon specific<br />
charges in writing and after due notice of opportunity to be heard, proof-hearing and conviction,<br />
may be fined and/or suspended or expelled in accordance with the By-laws.”<br />
that protect individual members and the Local from improper behavior, libel charges and harmful acts<br />
damaging to the overall welfare of the membership; and<br />
Whereas, Article II, Section 8 -<br />
“The members shall consider all the business of the <strong>Association</strong> private. Any member found<br />
guilty of discussing the private business of this <strong>Association</strong> on the street or any other public<br />
place, where it imperils the existence of any member, or the Local, shall be fined an amount to<br />
be determined by the Executive Board.”<br />
is confusing in its intent and language, is redundant and offers no additional protection to members, and<br />
could potentially be used to suppress free speech rights under the First Amendment; Therefore, be it<br />
Resolved, That Article II, Section 8 be struck from the By-laws; and, be it further<br />
Resolved, That the cross references to Article II, Section 8 [which is misidentified as Section 9 in the<br />
current By-laws] in Article I, Section 26 (Executive Board) and Article I, Section 39 (Hearing Board), be<br />
deleted as follows:<br />
Article 1, Section 26 - Executive Board members shall refrain from breaching the confidence<br />
of any Executive Board proceeding and shall be guided by Article II, Section 9.<br />
Article 1, Section 39 - Hearing Board members shall refrain from breaching the confidence of<br />
any Hearing Board proceeding and shall be guided by Article II, Section 9.<br />
And, Be it further<br />
Resolved, That the following language be added to Article XIV, Standing Resolutions as the new No. 12:<br />
“All meetings of the Executive Board, Hearing Board and Emergency Relief Board shall be considered<br />
private business of the <strong>Association</strong> and shall remain confidential, except for any necessary public records<br />
such as minutes of said meetings. Regarding General Membership Meetings, all members attending<br />
agree that it is in the best interest of all concerned that the private business of the <strong>Association</strong> shall<br />
remain confidential.”<br />
- Submitted by Dave Pomeroy<br />
Board Recommendation: Favorable<br />
including AFM, The Recording Academy,<br />
AFTRA, RIAA, A2IM, Sound Exchange and others,<br />
and 160 founding artists. You can learn more<br />
about the Coalition by going online to<br />
www.musicfirstcoalition.org . The Coalition's<br />
goal is to secure the passage of legislation, the<br />
Performance Rights Act, which would grant a performance<br />
right on all sound recordings broadcast<br />
over AM/FM radio. Currently, terrestrial radio<br />
broadcasters do not pay performers when their<br />
work is aired. The Performance Rights Act will<br />
change that. Satellite radio, Internet radio and cable<br />
radio all pay a performance right, but due to a loophole<br />
in the copyright regulations AM/FM radio is<br />
exempt.<br />
For the “fly-in,” we are targeting members of<br />
Congress who sit on key committees, particularly<br />
the Judiciary Committee. These members are from<br />
the states listed below. Members of Congress are<br />
especially attentive to issues affecting their state<br />
or district. By showing them that the Performance<br />
Rights Act would have a positive impact on their<br />
constituents, it becomes more likely that the Senator<br />
or Representative will favor it.<br />
AFM and the MusicFIRST Coalition will be<br />
meeting with members of Congress from the following<br />
states: Vermont, Wisconsin, Pennsylvania,<br />
California, Iowa, New York, Arizona, Illinois, Alabama,<br />
Maryland, South Carolina, Rhode Island,<br />
Texas, Oregon, Oklahoma, Minnesota, Delaware,<br />
Tennessee, Colorado, and West Virginia.<br />
Name Change Proposal<br />
Whereas, the name “<strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong>” does not easily lend itself to acronyms, abbreviations,<br />
or easy pronounciation, and,<br />
Whereas, in an era where marketing is essential to continued success, an effective logo and title helps to<br />
brand an organization or product effectively, and that a name change to “<strong>Nashville</strong> <strong>Musicians</strong> <strong>Association</strong>”<br />
will help identify AFM Local 257 with “<strong>Nashville</strong> <strong>Musicians</strong>,” who we exist to represent, and<br />
Whereas, we have been advised by legal counsel that a name change to “<strong>Nashville</strong> <strong>Musicians</strong> <strong>Association</strong>”<br />
will not cause any undue confusion or legal issues to the way in which Local 257 does business<br />
within the AFM and in the community at large,<br />
Therefore, be it proposed that the name “<strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong>” be changed to “<strong>Nashville</strong><br />
<strong>Musicians</strong> <strong>Association</strong>” legally and in practice from this day forth. Accordingly, Article 1, Section 1 of the<br />
Local 257 By-laws shall be amended as follows...<br />
ARTICLE I - NAME AND JURISDICTION Section 1. This <strong>Association</strong> is and shall be known as the<br />
<strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong>, <strong>Nashville</strong> <strong>Musicians</strong> <strong>Association</strong>, Local 257, American Federation<br />
of <strong>Musicians</strong>.<br />
It is understood that some time will be needed for this transition to be complete, and care shall be taken to<br />
use all existing materials with the previous name as long as possible in order to be financially prudent.<br />
Respectfully submitted,<br />
Dave Pomeroy, President Local 257<br />
Craig Krampf, Secretary/Treasurer, Local 257<br />
Board Recommendation: Favorable<br />
Road-scale By-Law change proposal<br />
Worker, Retiree and Employer<br />
Relief Act of 2008, now the law<br />
By unanimous consent, on Dec. 2, 2008, the<br />
Senate passed this important legislation, modifying<br />
the Pension Protection Act of 2006, to react to<br />
the current economic downturn.<br />
President Bush signed this into law on Dec. 23,<br />
2008. This act protects multi-employer benefit<br />
pension plans like ours, the AFM-EPF.<br />
The Employee Free Choice Act<br />
Labor's eyes are watching whether or not President<br />
Barack Obama will sign the Employee Free<br />
Choice Act. The EFCA would restore workers' freedom<br />
to form unions and bargain for better wages,<br />
benefits and working conditions.<br />
Obama co-sponsored and voted for the EFCA,<br />
which is supported by a bi-partisan coalition in<br />
Congress.<br />
For union groups, hopes are high the EFCA will<br />
prevail in the new administration.The President has<br />
said that he wants to “strengthen the union movement<br />
in this country, and put an end to the kinds of<br />
barriers and roadblocks that are in the way of workers<br />
legitimately coming together in order to form a<br />
union and bargain collectively.”<br />
Union advocates say the Employee Free Choice<br />
Act would level the playing field for workers and<br />
employers and help rebuild America's middle class.<br />
(Editor’s note: Report by Linda Rapka, Local<br />
47’s Overture publication.)<br />
Whereas, Local 257 scale rates for Road Engagements have not been changed in over 15 years, since<br />
1993; and<br />
Whereas, It is a well recognized fact that Road Engagements are an important part of our business; and<br />
Whereas, One of Local 257’s goals is to promote an increased participation in the AFM-EPF (the Pension<br />
Fund) by <strong>Nashville</strong>-based touring groups; and<br />
Whereas, A cost of living increase for those 15 years would result in a large increase of what is considered<br />
minimum scale; Therefore, be it<br />
Resolved, to make the following changes to the <strong>Nashville</strong> Road Scale:<br />
a. Raise the established minimum of $140 to $250 along with the corresponding 10% pension contribution;<br />
b. Add language to clarify that “This rate reflects one show in one location”;<br />
c. Raise Back-Up Performance Scale from $50 for each additional artist to $100 and the Music<br />
Preparation Scale (chord number charts/musical arrangements) be raised from $15 to $25 per<br />
hour;<br />
d. Raise the daily per diem from $25 to $35;<br />
e. Raise the daily per diem rate on days without show pay from $35 to $70.<br />
- Submitted by Kathy Shepard and Dave Pomeroy<br />
Board Recommendation: Favorable
<strong>Jan</strong>uary-March 2009 The <strong>Nashville</strong> Musician 31<br />
. . . . Duane and his days as king of twang<br />
(Continued from page 23)<br />
it the way they want to hear it. I work off the<br />
audience.”<br />
Does he wish that he was a flashier picker?<br />
“I love it when they play flashy. I just wish I<br />
could do it,” he wryly replies. “But I also know<br />
I always liked the playing on records where<br />
people were commercial with it. Billy Byrd with<br />
Ernest Tubb’s Texas Troubadours is a good example.<br />
He just kept it simple and layed that<br />
melody in there and it was thrilling. The people<br />
at home or young musicians who heard that<br />
record would be able to play that solo after a<br />
few minutes.<br />
“I’ve probably taught more kids to play than<br />
anybody who does the fancy stuff, because they<br />
pick up a guitar and could probably play ‘Rebel<br />
Rouser’ in five minutes or approximate it<br />
enough to where they can recognize it and think,<br />
‘Oh, I’m doing pretty good. It doesn’t take too<br />
long to learn.’ A lot of people have told me they<br />
learned off those records of mine.”<br />
Does Duane have any how-to instruction<br />
booklets or tapes? “No, but I would’ve liked to<br />
have done that, but I never did.”<br />
Too late now? “I don’t guess it is.”<br />
Eddy would welcome another tour abroad.<br />
“After that first major visit to England, I<br />
came back about two years later, and then went<br />
back a couple times in the 1970s. I did visit<br />
some bases here and there in Europe through<br />
the years, playing for the troops. Then I went<br />
over in the ’90s with the Everly Brothers.”<br />
Don’t mention the Germany-based Bear<br />
Family Records or its compilation box-sets:<br />
“They put one out on me, but they didn’t pay<br />
anything and the stuff they put on it (liner notes)<br />
was pure fiction. You know they don’t pay copyright<br />
or anything.”<br />
What discs still available does Duane recommend<br />
as most representative of his twang?<br />
“Rhino Records has an album (1990) called<br />
‘Twang Thang: The Duane Eddy Anthology’<br />
(boasting two discs) and it’s available on the<br />
Internet.” (www.rhino.com or Amazon.com)<br />
Does Eddy have any guitar models on the<br />
current market?<br />
“In the 1990s, Gretsch finally caught up to<br />
me and made a Duane Eddy Signature Model<br />
(DE-6120, issued in 1997), just like the original<br />
one I bought in 1963. Then I parted company<br />
with them and Gibson heard about it and<br />
called me up, asking if I’d like them to build<br />
me one?<br />
“Sure, I said. Well, my friend Mike<br />
McGuire’s out there and he had wanted to build<br />
me one all those years. He knew what kind of a<br />
guitar that I like anyway. (Duane Eddy’s Signature<br />
Gibson premiered in 2004).”<br />
Does Duane still practice daily?<br />
“Well, there’s practice and then there’s practice.<br />
I have a guitar all day where it’s handy,<br />
whether I want to pick it up to relieve some<br />
stress or just to try something, whatever. I may<br />
try to write something that I could record, or<br />
just come up with a different approach to a song<br />
. . . More Grammy winners<br />
(Continued from page 19)<br />
Two Graves,” Ashley Gorley & Bob Regan; “I<br />
Saw God Today,” Rodney Clawson, Monty<br />
Criswell & Wade Kirby; “In Color,” Jamey<br />
Johnson, Lee Thomas Miller & James Otto;<br />
“You’re Gonna Miss This,” Ashely Gorley &<br />
Lee Thomas Miller; and “Stay,” Jennifer<br />
Nettles, the winner.<br />
Best Country Album - “That Lonesome<br />
Song,” Jamey Johnson; “Sleepless Nights,”<br />
Patty Loveless; “Troubadour,” George Strait;<br />
“Around the Bend,” Randy Travis; and<br />
“Heaven, Heartache and The Power of Love,”<br />
Trisha Yearwood. Veteran Strait earned his first<br />
Grammy, thanks to “Troubadour.”<br />
Al Gore’s “An Inconvenient Truth,” featuring<br />
Beau Bridges, Cynthia Nixon and Blair<br />
Underwood, won for Best Spoken Word Album.<br />
For a complete list of NARAS’ Grammy nods,<br />
check out Grammy.com<br />
that might work even if it wasn’t a hit. I’m always<br />
lookin’ for something that might be unusual.”<br />
Has Duane contemplated retirement?<br />
“No . . . like Les Paul says, ‘Real men don’t<br />
retire.’ I just played with him a few weeks ago<br />
in Cleveland and he’s like 93, an amazing man.<br />
They did a tribute to him for the Rock & Roll<br />
Hall of Fame and he brought his trio up there<br />
for Les Paul Week. I think his mother lived to<br />
be 98. Hey, he might outlive us all!”<br />
New officers named to<br />
Recording <strong>Musicians</strong>’<br />
<strong>Association</strong> (RMA) . . .<br />
Dave Pomeroy, upon being elected president<br />
of the <strong>Nashville</strong> <strong>Association</strong> of <strong>Musicians</strong><br />
AFM Local 257 on Dec. 12, 2008, promptly<br />
resigned as president of the Recording <strong>Musicians</strong><br />
<strong>Association</strong> (RMA).<br />
Mike Brignardello, former vice president,<br />
has agreed to fill the vacancy (see page 9 RMA<br />
column ).<br />
The following list represents the current<br />
RMA roster: Mike Brignardello, president; Tom<br />
Wild, treasurer; Lauren Koch, secretary; and<br />
Executive Board members David Angell, Barry<br />
Green, Tim Lauer, Duncan Mullins, Carole<br />
Rabinowitz, Jim (Moose) Brown and Jeff King.<br />
. . . Rex’s ‘remarkable life’<br />
(Continued from page 8)<br />
“I would have to say his devotion to music.<br />
That devotion was almost like a religion to him.<br />
He also had an excellent sense of humor.”<br />
There was a sensitive side, as well, apparent<br />
when Rex told Ryan about an incident he<br />
witnessed on the road that bothered him:<br />
“One time when the Goodman group was<br />
riding on a tour bus down South, they stopped<br />
at a restaurant. Dad remembered someone,<br />
maybe (black trumpeter) Charlie Shavers, asking,<br />
‘Hey Rex, can you get me a sandwich while<br />
you’re in there? I can’t go in,’ and that injustice<br />
really impacted him.”<br />
For most of the last 20 years of his life, Rex<br />
and Barbara, his wife of 56 years, had resided<br />
in Hawaii.<br />
Survivors include his daughters Rachel Peer<br />
Thompson, Cindy Peer Green; son Ryan; sister<br />
Dorothy Zehr; four grandchildren and five<br />
great-grandchildren.<br />
Arrangements were handled by Lawrence<br />
Funeral Home of Chapel Hill, Tenn. Graveside<br />
services were held Oct. 17 at Swanson Cemetery,<br />
Chapel Hill. - Walt Trott<br />
Union music<br />
is best!<br />
Alison Krauss and duet partner Robert Plant win big.<br />
Donate to the<br />
Legislative Action Fund,<br />
formerly TEMPO . . .<br />
Nathan, Caleb, Matthew and Jared Followill.<br />
Kings Of Leon<br />
ONCE NASHVILLE’S<br />
BEST-KEPT SECRET<br />
One of <strong>Nashville</strong>’s most exciting success<br />
stories has been the rise of the Kings of Leon.<br />
Amazingly, they’re all from the same family;<br />
you see, even yesteryear’s hugely popular<br />
Andrews Sisters and country’s soulful Gatlin<br />
Brothers couldn’t do better than a trio, but the<br />
Followill four feature brothers Nathan, Caleb,<br />
Jared and first cousin Matthew Followill.<br />
Awesome, too, is the fact that the Kings of<br />
Leon attained their first star status in the UK,<br />
specifically England and Ireland, and even<br />
Down Under in Australia, where they celebrated<br />
#1 records. Now they’re Grammy winners.<br />
Yep, finally, the U.S.A. has recognized these<br />
rockin’ Dixie talents - who appropriately enough<br />
call Music City home - in no small part due to<br />
their smokin’ CD, “Only By the Night.”<br />
That album peaked at #5 on the prestigious<br />
Billboard Hot 200 albums list, and at press time<br />
(when was that?) was still in the Top 20s after<br />
that many weeks (as of Feb. 14, actually). Incidentally,<br />
“Only By the Night” debuted at #1 in<br />
England.<br />
Helpful, too, was their sizzling single “Sex<br />
On Fire,” an adult Valentine if there ever was<br />
one.<br />
These Southern rockers have already opened<br />
for legends like Pearl Jam, U2 and Bob Dylan.<br />
It doesn’t get much better than that, except that<br />
soon they’ll be the ones engaging opening acts.<br />
How many rock units are headed up by a chap<br />
like Nathan, who graduated from an institution<br />
called Christian Life Academy in Henderson,<br />
Tenn.? In fact, brother Caleb only departed in<br />
his senior year to pursue their joint musical<br />
Odyssey. That’s not surprising when we learn<br />
their pop is an evangelist, who moved his family<br />
hither and yon, while his adoring wife helped<br />
multiply their brood. (She also for the most part<br />
home-schooled her sons.)<br />
Seems their pere’s influence, along with his<br />
father’s, came to the fore in their name: Kings<br />
of Leon. Matthew, of course, shares the same<br />
granddaddy Leon, but calls the preacher Uncle<br />
Leon. Guess it’s something of a Southern tra-<br />
Substance abuse problem?<br />
Need to talk?<br />
Please call:<br />
Bobby Kent, LADAC<br />
Licensed Alcohol & Drug Abuse Counselor<br />
(615) 300-0036<br />
30-year member of Locals 802/257<br />
ALL CALLS ARE CONFIDENTIAL<br />
dition, but all the boys go by their middle names,<br />
i.e., on his birth certificate it reads Ivan Nathan,<br />
while Caleb’s states Anthony first, then it’s<br />
Michael Jared, while their cousin’s reads<br />
Cameron Matthew Followill.<br />
It was in 1996 when the brothers moved to<br />
<strong>Nashville</strong>, and in 2000, with Matthew, launched<br />
their band. They got lots of attention, thanks to<br />
their experimental “Holy Roller Novocaine,”<br />
an impressive boogie rock EP. How’s this for<br />
interesting tidbits? “Holy Roller Novocaine”<br />
was heard in the movies “Stuck On You” and<br />
“Talladega Nights: The Ballad of Ricky Bobby.”<br />
Caleb, who plays rhythm guitar, is their gritty<br />
lead vocalist, augmented by backup singing<br />
from Matthew playing lead guitar, Jared on bass<br />
and synthesizer, and eldest player Nathan, born<br />
in 1979, playing drums.<br />
Under the guidance of Angelo Patraglia, they<br />
polished off their Southern swagger and its follow-up,<br />
“Youth and Young Manhood,” exhibited<br />
a new maturity and proved an instant success<br />
abroad. England’s New Music Express,<br />
which followed their early releases, took their<br />
“Because of the Times” ’07 album right to its<br />
bosom, noting it “cements Kings of Leon as one<br />
of the great American bands of our times.” The<br />
overall European media began labeling our<br />
Kings as being at the forefront of a New Rock<br />
Revolution, on the heels of Kings of Leon’s<br />
“Aha Shake Heartbreak” (2004).<br />
Come 2008, and the early release of “Only<br />
By the Night,” co-produced by Patraglia and<br />
Jacquire King, and due to generous airplay and<br />
subsequent sales, it shot straight to the top of<br />
the UK pop charts. Their “Sex On Fire” spinoff<br />
became their first to go #1 on the Billboard<br />
Hot Modern Rock Chart. Meanwhile, on<br />
Australia’s coveted Triple J Hot 100 list, their<br />
single “Use Somebody” hit #3, followed by<br />
“Sex On Fire” peaking at #1!<br />
The result of all that was the Kings of Leon’s<br />
product proved to be the UK’s third biggest<br />
seller, and top seller for the Aussies in 2008.<br />
Veterans of sold-out concerts and major<br />
music festivals overseas, one can Google the<br />
internet to find Kings of Leon’s adoring females<br />
anxiously waiting their next visit. One peasant<br />
maiden in Portugal, however, was bemoaning<br />
that she didn’t have enough Euros to attend an<br />
upcoming gig, or couldn’t get the time away<br />
from work to attend their concert, noting she<br />
was willing to do what it took to meet the boys.<br />
Needless to say, these true sons of the South<br />
merely remind all those shut-out that their<br />
music’s available for download via iTunes. Further,<br />
with those great Followill genes, they don’t<br />
have any problem appealing to the opposite<br />
gender sans bribes.<br />
Meanwhile, just being on the cover of Spin<br />
magazine, and subsequent appearances on national<br />
telecasts like Saturday Night Live! have<br />
made them an equally red-hot act on these<br />
shores.<br />
“This kind of feels like our honeymoon with<br />
America now,” Nathan proclaims. “It’s amazing<br />
just how more popular we’ve become by<br />
playing on SNL or having a song on a TV show<br />
here and there. Pop culture does play a big part<br />
in it.”<br />
What’s so great about all this is that The<br />
Kings of Leon are your fellow brothers of AFM<br />
Local 257. Congratulations guys on your success<br />
and Grammy win - we are proud of you.<br />
Keep rockin’ and spreading the message of the<br />
great musical diversity of <strong>Nashville</strong> and your<br />
Union, Local 257. - WT<br />
Bass Bow Quivers, Chin Rest Pads,<br />
Shoulder/Chin Pads<br />
Cello & Bass Aprons, Stool Cushions<br />
I Sell Musician Comfort Items,<br />
Retail and Wholesale<br />
Visit my eBay Store at<br />
FiddlePadsPlus.com
32 The <strong>Nashville</strong> Musician <strong>Jan</strong>uary-March 2009<br />
Notice: 2009 Dues<br />
LIFETIME MEMBERSHIP DUES<br />
Local Dues $24.25<br />
A.F. of M. Per Capita Dues 40.00<br />
Funeral Benefit Fee 15.00<br />
Funeral Benefit Assesment 40.00<br />
Vic Willis Emergency Relief Fund 3.00<br />
Legislative Action Fund-formerly TEMPO (Voluntary) 5.00<br />
TOTAL: $127.25<br />
REGULAR MEMBERSHIP DUES<br />
Local Dues $97.00<br />
A.F. of M. Per Capita Dues 56.00<br />
Funeral Benefit Fee 15.00<br />
Funeral Benefit Assesment 40.00<br />
Vic Willis Emergency Relief Fund 3.00<br />
Legislative Action Fund-formerly TEMPO (Voluntary) 5.00<br />
TOTAL: $216.00<br />
Members must pay their dues annually on or before <strong>Jan</strong>.<br />
31. If dues are not paid by <strong>Jan</strong>. 31, 2009, such member shall<br />
stand suspended. To reinstate after <strong>Jan</strong>. 31, and no later than<br />
March 31, 2009, such member shall pay a reinstatement fee of<br />
$10, together with all dues, fines and assessments. After March<br />
31, such member shall be expelled. To reinstate after expulsion,<br />
a reinstatement fee of $25, together with all dues, late fees<br />
and assessments must be submitted (ARTICLE II, Section 3).<br />
Next General Membership meeting scheduled 6:30 p.m. March 18<br />
at the Union Hall. Check out the By-Law changes. See page 1.<br />
We’ll give you the chance to play<br />
on the biggest stage of all.<br />
The world.<br />
We’re looking for top-tier musicians to join the ranks of the musical elite. Be part<br />
of the tradition of musical excellence as a member of the U.S. Navy Band.<br />
The U.S. Navy Band’s “Country Current” country-bluegrass group<br />
has an immediate opening for the following position:<br />
ELECTRIC GUITAR<br />
Audition date to be determined<br />
To be considered for an audition, please send your resumé (current members of<br />
the U.S. Armed Forces must also send endorsements from their<br />
Bandmasters) to:<br />
U.S. Navy Band<br />
Attn: Audition Supervisor<br />
617 Warrington Ave., SE<br />
Washington Navy Yard, DC 20374-5054<br />
The minimum enlistment in the U.S. Navy is four years. Longer enlistments may<br />
be required to take advantage of special enlistment incentives (bonuses, if<br />
applicable, and college loan repayment). Annual starting salary<br />
$47,800–$53,300, plus full benefits, including dental and medical care. For<br />
more information, please contact NavyBand.auditions@navy.mil.<br />
General Membership Meet • 6:30 p.m. Monday,<br />
© 2009. Paid for by the U.S. Navy. All rights reserved.