DOLLY PARTON - Nashville Musicians Association

REVIEWS: BLIND BOYS OF ALABAMA • BRAD PAISLEY • TOMMY SHAW • JOHN OATES 

Official Journal of AFM Local 257 

July - September 2011 

Nonprofit 

U.S. Postage 

PAID 

Nashville, TN 

Permit No. 648 

Nashville Association of Musicians #257 

11 Music Circle North 

Nashville, TN 37203-0011 

- Address Service Requested - 

ROY ORBISON 

The Monument Singles 

Collection (1960-1964) 

DOLLY 

PARTON 

New album brings 

‘Better Day’ 

RESPECT YOURSELF 

AFM recording initiatives 

offer new opportunities 

NORBERT PUTNAM 

interview with legendary 

producer-bassist 

FLASHBACK 

Nashville All-Stars 

After The Riot At Newport

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20082 

Official Journal of the Nashville Musicians Association, AFM Local 257 

July - September, 2011 

4 Announcments 

Date of the next membership meeting, past minutes, and more. 

6 State of the Local 

President Dave Pomeroy discusses new recording initiatives, the 

Nashville Music Council, Summer NAMM, and more. 

7 New Grooves 

Secretary-Treasurer Craig Krampf looks forward to upcoming live 

music events in Music City. 

8 News 

The Southern Conference of AFM Locals, flood relief update, GoPro 

Tunes and new recording initiatives. 

11 Heard on the Grapevine 

The notable comings and goings of Local 257 members. 

13 Gallery 

15 The Nashville Musician interview: Norbert Putnam 

The celebrated producer-bassist talks about his storied career and his 

decision to come out of retirement. 

18 Let the healing begin 

Dolly Parton beleives things are going to get better and her new 

album, Better Day, reflects her optimism. 

22 Reviews 

The new Roy Orbison box set; plus new releases by the Blind Boys of 

Alabama, Brad Paisley, Tommy Shaw and John Oates. 

25 Flashback 

There was a riot — literally — when a group of Nashville studio cats 

got an invitation to perform at the 1960 Newport Jazz Festival. 

27 Symphony Notes 

Looking at the past NSO season — and the next one. 

29 Jazz & Blues Beat 

Members Lori Meacham and Roger Spencer win Jazz Heroes awards. 

30 Live Music 

The legendary Memphis Boys open the newly renovated Franklin 

Theater; plus a preview of The Time Jumpers. 

31 RMA Corner 

Guest columnist Dennis Dreith discusses performance rights in sound 

recordings. 

32 Final Notes 

We bid a final farewell to four of our members. 

33 Member Status 

34 Do Not Work For 

The Nashville Musician July - September 2011 

Contents 

We welcome all 

our friends to 

Summer NAMM! 

Dolly has a new album and is about 

to embark on a world tour to support 

it. Story begins on page 18. 

A pair of rock legends — John Oates 

and Tommy Shaw — have new 

releases. Reviews begin on page 22. 

3

Official Quarterly Journal of the 

Nashville Musicians Association 

AFM Local 257 

Publisher: Dave Pomeroy 

Editor: Craig Krampf 

Associate Publisher: Daryl Sanders 

Managing Editor: Kathy Osborne 

Contributing writers: Austin Bealmear, Warren 

Denney, Dennis Dreith, Roy Montana, Laura 

Ross 

Contributing photographers: Craig Krampf, 

Dave Pomeroy, Jean Fogelberg, Jared Rauso 

Art Direction: Daddy D Design 

Web Administrator: Kathy Osborne 

Sales: Anita Winstead 

Local 257 Officers 

President: Dave Pomeroy 

Secretary-Treasurer: Craig Krampf 

Executive Board 

Bruce Bouton, Jimmy Capps 

Duncan Mullins, Bobby Ogdin, Andy Reiss, 

Laura Ross, Denis Solee 

Alternates: Tim Smith, Tom Wild 

Hearing Board 

William “Tiger” Fitzhugh, Kathy Shepard, Mike 

Douchette, Michele Voan Capps, Teresa Hargrove, 

John Terrence, Jonathan Yudkin 

Trustees 

Ron Keller, Biff Watson 

Sargeant At Arms 

Tom Wild 

Nashville Symphony Steward 

Laura Ross 

Office Manager: Anita Winstead 

Live Music & Touring 

Supervisor: Kathy Shepard 

Assistant: Laura Ross 

Electronic Media Services 

Director: Juanita Copeland 

Assistant: Teri Barnett 

Data Entry: Mandy Arostegui 

Recording Dept. Assistant: Kelly Spears 

Membership Coordinator: Neil Thorsbakken 

Front Desk: Janet Butler 

© 2011 The Nashville Musicians Association. 

P.O. Box 120399, Nashville TN 37212 

All rights reserved. 

Next General Membership Meeting, Monday, Aug. 8, 2011 

The next Local 257 General Membership meeting will be Monday, Aug. 8 at 6 p.m. There are no 

Bylaw proposals on the agenda, but there will be President and Secretary/Treasurers’ Reports, an 

update on new AFM recording initiatives, and reports from the Local 257 Member Committees. 

A variety of important topics will be addressed and discussed. This is a great way to get involved 

in the business of your union. Doors will open at 5:30 p.m. and the meeting will start promptly at 

6 p.m. 

Minutes of the General Membership meeting, Nov. 8, 2010 

The Nashville Musicians Association, AFM Local 257, AFL-CIO 

Attendees: Robert Ross, Laura Ross, John Terrence, Larry Rolando, Jim “Moose” Brown, James Langdon, Chuck 

Bradley, Don Kerce, Harpo Costello, Tim Smith, John Garr, Denis Solee, Ted Tretiak, Tom Roady, Andre Reiss, 

Michael Spriggs, Mike Zimmerman, Joe Dorn, Phil Roselle, Shannon Williford, Kirk Bewer, Bill Poe, Ray Von 

Rotz, Dave Martin, Tom Wild, Gary Miller, Travis Wetzel, Craig Krampf, Dave Pomeroy, Jonathan Yudkin. 

Meeting called to order at 6:15 p.m. by President Dave Pomeroy. 

Roll Call of Officers: President Dave Pomeroy, Secretary-Treasurer Craig Krampf. Executive Board: Denis 

Solee, Tom Wild, Laura Ross and Tim Smith. 

Hearing Board: John Terrence and Jonathan Yudkin. 

President’s Report 

1. The new AFM IEB has had two meetings. They have been intensive and productive. The IEB has reached out 

to small locals who haven’t heard from the AFM in quite a while. There is open dialogue going on with these 

locals who previously felt that they didn’t have a voice in the AFM to help and try to fix things. Nashville now is 

perceived to be on the cutting edge when it comes to recording and other matters. We are one of the healthiest 

locals in the AFM. Laura Ross has been appointed as a one of three rank-and-file trustees to the Pension Fund 

(AFM-EPF). 

2. The Single Song Overdub Scale is up and running, but is not being utilized fully. Remind your fellow musicians 

this scale was developed for recording overdub sessions, at home or in another studio. This agreement lets 

you work under a contract at a sliding scale with a $100 per song minimum, and also allows you to pay into your 

pension. If you have any questions about how to use this scale, we are here to help you. 

3. Juanita and the recording department are doing a great job and we have been able to get musicians paid on 

many outstanding bills going as far back as 2007, as well as more recently delinquent employers. Our new collection 

techniques are working. 

4. We are in the early stages of talking to Mayor Karl Dean about putting together a proposal for the parking 

situation for musicians on lower Broadway. This could also help start a dialogue with the club owners. 

5. Musicians’ Corner in Centennial Park. This is a new concert series. Support crew like the soundmen are getting 

paid, musicians are not. We have reached out to BMI, one of the sponsors, and have offered to help find a way for 

the musicians to be paid. Obtaining sponsorship could be a great way to accomplish this. 

6. Pomeroy gave an update on Billy Linneman, who recently had emergency surgery and remains hospitalized. 

His condition is improving, and we are all keeping him in our thoughts and prayers. 

Secretary Report: Minutes of the last membership meeting of June 7, 2010 were distributed to all in attendance. 

Pomeroy asked if there were any corrections. There were none. Minutes were approved as read. 

Treasurer’s Report: Copies of the financials were distributed to all. Krampf led the attendees through the categories. 

Motion to approve the treasurer’s report: Terrence. Second: Ross. Krampf and Pomeroy gave a breakdown of 

the dues structure for annual AFM Local 257 dues For 2011 

Regular members: $245 ($240 + $5 voluntary TEMPO/ERF contribution) 

Life members: $153.50 ($148.50 + $5 voluntary TEMPO/ERF contribution) 

The Bylaw Proposal 

Pomeroy read the bylaw proposal: Whereas, many Local 257 members have expressed the feeling that to be able 

to pay their dues biannually would ease the financial hardship created by a large single payment at the beginning 

of the year; and Whereas, it is in the best interest of Local 257 to retain and expand our membership as much as 

possible; therefore, be it Resolved: That Article II, Section 3 of the Local 257 Bylaws be amended as follows:(new 

language underlined). The existing Section 3 will be renamed Section 3(a) and a new Section 3(b) will be added to 

the Local 257 Bylaws as follows: Section 3(b): Members may elect to pay their dues biannually. A Biannual Payment 

Option may be requested, in writing or by email, prior to January 31. One half of the annual dues amount 

must be paid by January 31. A fee of $25 shall be added to the first payment. The balance must be paid in full by 

June 30. The Biannual Payment Option will be applicable for the current membership period (calendar year) and 

will require renewal for each subsequent membership period. New members joining after June 30 will be not be 

eligible to pay their dues Biannually for that year. 

Respectfully submitted by Dave Pomeroy and Craig Krampf 

Executive Board Recommendation: Favorable 

Pomeroy opened the floor for discussion. Terrence, Brown, Von Rotz, Ross, Smith, and Miller had questions and 

commenrts. Pomeroy and Krampf proposed two amendments to the bylaw prompted by previous discussion: 

1. After “must be paid by June 30”, insert: “or the member shall stand suspended.” 

2. After “joining after June 30 will not by eligible to pay their dues,” insert: “on the biannual payment plan for 

that year.” A short discussion took place. Ross called the question on the amendments. Second: Solee. Moved to 

approve by: Brown. Second: Martin. Pomeroy called for a vote. Amendments passed unanimously. 

Pomeroy then suggested a language change from “may” to “must be requested by writing or email.” Moved to 

approve: Von Rotz. Second, Smith. Language change passed unanimously. 

Discussion continued on the original proposal and amount and configuration of the convenience fee. Ross called 

the question. Second: Solee. Bylaw proposal passed unanimously. 

Correspondence: Pomeroy reported there was no correspondence. There was no other business. Motion to 

adjourn: Ross. Second: Wild. Meeting adjourned at 9:06 p.m. 

Respectfully submitted: Craig Krampf, Secretary-Treasurer 

Minutes of the Executive Board meeting, April 11, 2011 

Nashville Musicians Association, AFM Local 257, AFL-CIO 

President Dave Pomeroy called the meeting to order at 9:13 a.m. 

Present: President Dave Pomeroy, Secretary-Treasurer Craig Krampf, Bruce Bouton 

(BB), Duncan Mullins (DM), Bobby Ogdin (BO), Andre Reiss (AR), Denis Solee 

DS), Tim Smith (TS), Tom Wild (TW) and Laura Ross. (LR) 

Absent: Jimmy Capps. 

Reading of the Minutes 

Krampf had distributed by email, the minutes of the last executive board meeting of 

March 7, 2011, and copies were also available at the meeting. MSC to approve the 

minutes as amended: LR and AR. Unanimously approved. 

President’s Report 

Pomeroy reported on the following items: 

1. The SRLA negotiations are continuing and some modest progress has been made. 

The AFM negotiating team is unified in its presentation. The AFM pointed out compliance 

issues to the industry and had productive talks about ways to simplify and 

make uniform some agreements, such as the forms for concert and music videos. 

2. The various committees that are in place and the members who have agreed to serve. 

These committees are: Education-Community Outreach, Legislation, Club and Road, 

Technology, Recruiting and Marketing. They have agreed to meet before the next 

general membership meeting. 

3. We have passed the date for expulsion, April 1. We will have another two-day “amnesty” 

period this week to allow members to come back without the most recent reinstatement 

fee. This was a success when we did it before suspension time of Jan. 31. 

4. Efforts continue to reach out to the RFD network in order to begin discussions and 

resolve outstanding issues. 

5. Progress has been made for the Musician Loading and Unloading Only signs. 

The Secretary-Treasurer’s Report 

Krampf led the board through the various categories of the Financial Comparison 

sheet of 2008, 2009 and 2010. Krampf answered questions and gave explanations. 

MSC to approve the Treasurer’s Report: AR and TW. Unanimously approved. BB and 

LR left the room due to having prior commitments. 

New Business: 

Pomeroy read the first bylaw proposal: Discounted Youth Membership: 

Whereas, the Local 257 Bylaws do not offer a discounted “youth membership” price 

to musicians under the age of 21 who join as new members, beyond the waiving of 

initiation fees for youth membership, and 

Whereas, these initiation fees are waived in other circumstances, such as a membership 

drive or a number of musicians joining as a group, and 

Whereas, it is in the best interests of Local 257 to attract younger musicians and make 

it more affordable for them to not only become a union member, but to remain in 

good standing, therefore: 

Be it resolved, that Article II, Section 1B be changed to reflect a 50 percent discount 

for local annual dues for members under the age of 21. The proposed new language 

appears below in bold, with deletions struck through. 

Section 1B. Youth membership applies is available to any musician under 21 years of 

age. twenty (20) years or younger, who joins the Local and remains in that classification 

until their twenty-first (21st) birthday. Youth members shall have all of the rights 

and obligations that regular members have, and they shall be subject to all federation 

and local rules, regulations and bylaws. They Youth members are exempt from Local 

and Federation Initiation fees, and shall pay Annual Local dues and assessments at the 

same 50% of the rate as Regular Members rate as set by the Local,. and wWork dues 

and assessments where applicable, shall be paid at regular established rates. but they 

shall not pay LIF or FIF. Applications under the legal age of sixteen (16) must have 

written consent of approval of their parent or guardian. 

A discussion took place and various suggestions for changes were made. These changes 

are reflected into the final version seen above. Board recommendation: Favorable. 

This proposal will be taken before the membership for consideration. 

Pomeroy read the second bylaw proposal that concerned overdue work dues. A lengthy 

discussion took place. MSC to table this bylaw proposal until legal council is consulted: 

BO and DS. Pomeroy said that the hearing board will be contacted in order to 

take up the business of the delinquent offenders. 

Pomeroy presented a bylaw proposal to lower the quorum number from 30 to 25. After 

some discussion, it was decided to leave the number at 30. LR reentered the room. 

Pomeroy asked the board for approval to have nashvillemusician.org bumper stickers 

manufactured. Cost was discussed and the board gave their approval. All money genefrom 

the sale of the bumper stickers will be placed in the Emergency Relief Fund. 

LR said that she will be presenting a bylaw proposal to raise the “charitable donation” 

that our local can make from $100 to $500. She will present this to the board for approval 

before the next general membership meeting May 8. 

New member applications were reviewed. MSC: AR and BO to accept all new members. 

Unanimously approved. 

There was no other business. MSC to adjourn: BO and TS. Meeting adjourned at 

10:51 a.m. 

Respectfully submitted, Craig Krampf 

Announcements 

MAXIMIZE 

YOUR AFM 257 

MEMBERSHIP 

Website 

Website member-only section lets you build 

profiles complete with audio and video clips, bios 

and more — for you as well as your side project 

bands or solo act. This section also allows you to 

advertise your gigs for free. Fill the room! 

The website message board has public forums 

for buying and selling gear and instruments, plus 

general forums 

Rehearsal Hall 

Active members can book the rehearsal hall free 

of charge. Mics, stands, and some gear is also 

provided. 

Health Insurance 

Members have access to a group health 

insurance policy which is generally less costly 

than a lot of private plans. 

And More 

Members can get discounts on AT&T phone 

plans, musical instrument insurance, and other 

products and services. 

Make sure we have your correct email address, 

so you will be informed about limited time special 

rates and discounts for members, as well as receive 

important event and meeting notifications. Also 

make sure your phone numbers and address are 

current, as well as your funeral benefit information. 

Grow your career with Local 257 free 

member services. 

www.nashvillemusicians.org 

4 July - September 2011 The Nashville Musician 


5

State of the Local 

By Dave Pomeroy 

It’s hard to believe it’s been two-anda-half 

years since Craig and I took 

office. I am very proud of what we’ve 

accomplished so far, but I do believe the best 

is yet to come. 

The past few months have been extremely 

busy for me, but the progress we are making 

on several fronts is encouraging. I have 

participated in two rounds of SRLA Phono 

negotiations in New York City, International 

Executive Board (IEB) meetings in Las 

Vegas, and the AFM Southern Conference 

in Atlanta. Thanks to my laptop and the ready 

availability of Internet service, I have been 

able to juggle these out-of-town excursions 

with the everyday responsibilities of being 

your Local 257 president. 

We have covered a lot of ground in our IEB 

meetings, from reviews of the Federation’s 

finances to merging struggling locals. We’ve 

met with various AFM conferences and 

made an AFM statement to NARAS urging 

them to reconsider the recent Grammy 

category changes and to offer our help in 

crafting a better solution. It is important to 

me that all of you understand that being an 

IEB member enhances my ability to look 

out for Nashville’s interests within the larger 

context of helping to determine the future 

direction of the AFM as a whole. 

AFM President Ray Hair’s leadership 

style has been very inclusive and respectful 

of the various perspectives of the IEB, player 

conferences and locals around the federation. 

This has created an opportunity for us to 

make great strides in many important areas 

of our business. Our vastly improved internal 

communication and transparency is already 

reaping rewards at the bargaining table. 

Unity is not just a word anymore, it is 

a tangible attitude we project and it has 

dramatically changed how we present 

ourselves to the world at large. The results of 

our efforts are beginning to manifest and it is 

rewarding to see good things happen. 

recently approved three new recording 

initiatives that I helped develop and present 

to the board. The revamped Joint Venture 

Agreement gives self-contained bands the 

ability to file a contract for their recordings 

that documents the percentage “split” among 

members, without having to hire a lawyer. 

This way if something takes off — or goes 

wrong — the recording and the band are 

both protected by a union contract. 

We also have improved the Single Song 

Overdub Agreement, designed to capture 

the home recording work that has been flying 

under the radar over the past few years. This 

“home studio” scale gives you the opportunity 

to set your own rate, with a $100 per song 

minimum “all-in” payment. Importantly, it is 

the only AFM recording scale that allows you 

to pay into your own pension! I hope you will 

take advantage of these initiatives, which are 

designed to help you, and strengthen what 

we can do for musicians who are members 

of a self-contained band or independent 

contractors doing recording work. 

Another long-term project of mine has 

been to figure out how to monetize the 

thousands of songs recorded in Nashville 

over the years as artist or publishing demos 

or “demonstration recordings” as they were 

originally called. The language in our demo 

agreement expressly prohibits the release of 

these recordings. 

We have come up with a more affordable 

formula for these situations where a 

conversion from demo to limited pressing 

is the appropriate solution to allow a writer, 

artist or publishing company to release 

existing demos. Under this scenario, to 

convert an existing demo to limited pressing, 

the leader will make $200 and sidemen make 

$100, plus a $17 H&W payment per player. 

An 11.99 percent pension payment also 

applies, and the demo owner signs a Letter of 

Agreement, with the same provisions as our 

Limited Pressing Agreement. This solution 

to a long-standing problem in Nashville has 

been approved by the IEB for us to use, at 

the discretion of the local, so we have the 

ability to refuse such a request if it appears to 

be less than straight up. To be clear, if a major 

label wants to release a demo as a record, the 

old rules will still apply, and full master scale 

will be paid. 

Nashville Music Council 

I have been a part of the Nashville Music 

Council for two years now, and it has been a 

very interesting and rewarding experience. I 

have served on the education committee and 

there are some exciting new developments 

coming that I believe will have a positive 

effect on our city for years to come. There 

is a synergy at work between the Mayor 

Karl Dean and the music industry that is 

unprecedented and very exciting. 

Here Comes NAMM! 

July 21 to 23, NAMM rolls into town for their 

summer session featuring the latest in gear 

and music support products. We appreciate, 

and hope you do, too, the consideration that 

our friends at NAMM have given us to 

get our members in for free. We will have 

a booth at the show, so please come by and 

say hi or help out if you like. We will also 

be conducting a “Get More Gigs” seminar at 

noon on Saturday, July 23, NAMM’s Wanna 

Play day that is open to the public. 

Local 257 committees begin their 

work 

As part of our quest to be more democratic 

and involve the members in the future 

direction of our local, we have activated Local 

257 member committees for Education 

and Community Outreach, Recruiting 

and Marketing, Club and Live Musicians, 

Technology, and Legislation. Thanks to all 

the members who have agreed to serve. Some 

of the committees have gotten off to faster 

starts than others, but this is an important 

step towards empowering our members 

to help us move forward together in these 

important areas. 

Involvement + Solidarity + Knowledge 

= Strength 

I hope you will recognize and remember that 

getting involved and working together for 

the common good of all members is essential 

to our survival as an organization. This can 

involve standing up for yourself and your 

fellow players when an employer asks you to 

work “off the card,” and speaking the truth 

when we are under attack from those who 

want to spread myths like “you can’t get a 

song in a movie if it was recorded on a union 

session,” which is proven wrong everyday 

despite what you hear from so-called “film 

music experts.” 

Without the protection of the contracts we 

have painstakingly negotiated, there would 

be no pay standards and musicians would be 

forced to bid against one another to get work 

— a race to the bottom that will be the end 

of the music business as we know it. 

Don’t underestimate the power we have if 

we stick together as a group. Thanks for your 

support, and as always, let us know what we 

can do for you. 

Dave Pomeroy is president of AFM Local 257. 

You can reach him at dave@afm257.org. 

New Recording Initiatives 

I am excited to announce that the IEB 

6 July - September 2011 

The Nashville Musician 

visited Nashville before and after the event 

and brought the number of tourists and 

economic figures to a new height. 

Dave Pomeroy, delegate Laura Ross and I 

attended the AFM Southern Conference in 

Atlanta during that same weekend. I really 

enjoy these AFM conferences and always find 

there is much we can learn from one another. 

All the presentations were informative and 

a spirit of unity and cooperation truly exists. 

As a relative newcomer, I could feel it in the 

room and many AFM conference veterans 

were of the same opinion. 

The AFM finances are improving, although 

there are still difficulties to resolve, as there 

are for many businesses, organizations and 

our fellow Americans. However, the new 

vision of the AFM administration, AFM 

International Executive Board, and many 

new local officers, has given us an invigorated 

spirit and is a welcomed change. We are now 

an organization with positive movement and 

forward thinking. Our membership should 

feel really good about this. 

New Grooves 

and artists will be featured this year, and if past 

NBN events are any indication, SoundLand 

2011 should prove to be outstanding. The 

Sept. 21-24 event, like Next BIG Nashville, 

will take over various local venues and offer 

a mix of music, parties and music business 

workshops. Local, regional and international 

artists will be featured and this year there will 

be more parties, outdoor stages, arts, crafts, 

local food, and field trips as well as onsite 

music related locations and more. We hope 

to have a presence at this year’s event. 

The World of Bluegrass Week 

The International Bluegrass Music 

By Craig Krampf 

Association (IBMA) will hold this event 

Greetings brother and sister musicians. 

Happy summer to everyone! I love 

summer and everything it brings — 

school being out, swimming, sun, barbeques, 

family gatherings, vacations, and hopefully, a 

lot of fun. This time of year also brings many 

incredible and varied musical events. Music 

City, once again, lives up to its moniker. 

Some upcoming musical events 

Sept. 26 through Oct. 2. It will include 

a four-day business conference, golf 

tournament, The International Bluegrass 

Awards and Bluegrass Fan Fest. Last year 

we had a strong presence, with many of the 

award winners Local 257 members. We 

also manned a booth we shared with Local 

1000, Non-Geographic, also known as the 

Traveling Musicians Union. 

Dale Franklin Award 

We are happy that NAMM once again The Americana Music Festival 2011 

As graduates of Leadership Music, Dave and 

I attended the organization’s Dale Franklin 

Award ceremony honoring the CMA. This 

year was the first time an organization rather 

than an individual or individuals received 

the award. The presentation and show were 

both outstanding. Our members made up 

the house band and many of the guest artists 

were 257 members as well. A standout for me 

was Keith Urban, who electrified the crowd 

with his passion and great musicianship. 

Three simultaneous events 

The CMA Festival once again brought 

record-breaking crowds here from all over 

offered our active membership free passes 

to this year’s show. The event will be held 

Thursday, July 21 through Saturday, July 23 at 

the Nashville Convention Center. We hope 

that your membership is in good standing 

and that you took advantage of this offer. We 

will conduct our own seminar at NAMM 

on Saturday, 12 p.m. in room No. 208. The 

theme is “Get More Gigs” and will feature 

several of our musicians. We will also have a 

booth at the show. Please stop by and say hi. 

We look forward to seeing you at NAMM. 

The National Folk Fest will come to 

Nashville this year for the first time. The 

event will take place Sept. 2-4 and will be 

The festival will be held this year at the 

Sheraton Nashville Downtown beginning 

Oct 12. For four nights, the Americana 

Music Festival features around 100 live 

performances at five downtown Nashville 

clubs. The capstone event, the 2011 

Americana Music Association Honors & 

Awards show, will be held at the historically 

cool Ryman Auditorium. 

Local 257 members are up for many 

awards and we wish them lots of luck. The 

awards show, which is a union show, is always 

musically a special event known for once-ina-lifetime 

performances. 

the world. The event attracted a lot of news 

coverage as well, and Nashville was on 

display. We should all feel proud that many 

of the musicians performing were brother 

and sister members of Local 257. This year 

many “side shows” also took place at various 

venues, and the whole town was literally 

filled with music. 

Bonnaroo’s tenth anniversary festival took 

place at the same time in Manchester, Tenn., 

about an hour south of Nashville. From 

all reports, Bela Fleck and the Flecktones, 

Allison Krauss, and Robert Plant and his 

Band of Joy were incredible. As you probably 

know, most of the musicians who make up 

these bands belong to our local. 

We have reached out to Bonnaroo and 

held on the Bicentennial Mall. A wide array 

of traditional musicians and performers 

will take part and there will be music of all 

genres, including Kurdish, cajun, bluegrass, 

mariachi, R&B, blues, and more. 

The early estimates from Metro 

government are that this event could attract 

80,000 people and bring in $10 million for 

the city. Festivals like this one, which offer 

many styles of music, are often wonderful 

ways to bring people and cultures together. 

As history proves, it is frequently music 

that helps break down barriers and unify 

communities. 

SoundLand 2011: Presented by Next 

BIG Nashville 

Epilogue: I can’t help but feel pride in 

what we have here in Nashville and in the 

musicians of Local 257. Every city has their 

own music scene and many places are doing 

well, but no other city is like Music City. We 

have a special blend of unique musical events, 

musicians and work that we do in this town. 

Representing each and every one of you 

is truly an honor for Dave and me, because 

as we so often say: “The Nashville Musicians 

Association — home of the finest musicians 

in the world.” 

I hope you have a wonderful, fun, safe and 

productive summer! 

Yours in Unity, Harmony, Artistry and 

Diversity. 

hope to have compliance issues taken care This year will mark the sixth anniversary for Craig Krampf is secretary-treasurer of AFM 

of next year. Currently, some acts file and Next BIG Nashville (NBN), but the first for Local 257. You can reach him at craig@ 

others do not. Many Bonnaroo attendees this new festival. Between 75 and 100 bands afm257.org. 


7

News 

At left, 257’s Laura Ross addresses the conference. On the right, AFM President Ray Hair swears in the new officers (L-R): 

President Kim Foreman, Secretary-Treasurer Lovie Smith-Wright and Vice President Tammy Kirk. (Photos by Dave Pomeroy) 

Southern Conference of Locals 

fosters unity, communication 

Kim Foreman, Secretary of Local 174- 

496, New Orleans, was elected president 

of the Southern Conference of 

AFM Locals at the annual meeting in June, 

held this year in Atlanta, Ga. Other officers 

elected were Lovie Smith-Wright, president 

of Local 65-699, Houston, Texas, who was 

re-elected secretary-treasurer, and Tammy 

Kirk of Local 94 in Tulsa, Okla., who was 

elected vice president. 

The event was hosted by outgoing Southern 

Conference President John Head, also 

the longtime president of the Atlanta Federation 

of Musicians, AFM Local 148-462. 

President Dave Pomeroy, Secretary-Treasurer 

Craig Krampf, and executive board member 

and Pension Trustee Laura Ross attended 

from Local 257. 

“The conference was an excellent chance 

for the various locals in our region to meet 

and discuss our common interests and obstacles 

and to set goals to move the AFM 

forward. It is always great to see our fellow 

local officers and conference guests in person 

and catch up on the latest developments in 

their cities,” Pomeroy said. 

AFM President Ray Hair gave the keynote 

speech, highlighting the many changes 

in the way the AFM is doing business, followed 

by Secretary-Treasurer Sam Folio, 

who outlined the outstanding financial and 

legal assistance the AFL-CIO has given to 

the AFM this year while the finances of the 

federation are getting back on track. 

Director of AFM Freelance Services Paul 

Sharpe, who has developed many of the 

member services offered to freelance musicians, 

including the new Go Pro Tunes online 

sales service, gave a well-received high 

energy presentation advocating for an increased 

online presence for locals and freelance 

musicians. 

AFM Symphonic Services Electronic Media 

Director Debbie Newmark explained the 

AFM’s Integrated Media Agreement to attendees. 

At last count, 30 orchestras, including 

the Nashville Symphony, have signed on 

to this new and innovative way of addressing 

the unique issues of orchestral recording. 

Vicky Smolik, president of the St. Louis, 

Local 2-197 and president of the AFM Theater 

Musicians Association, brought the conference 

up to speed on challenges in the theater 

world, including the dire consequences 

of the changes made in prior Pamphlet B 

negotiations not being adhered to as agreed 

by management. 

Pomeroy updated the conference on 

the improving health of Billy Linneman, a 

longtime Southern Conference attendee; 

and conference goers signed a card wishing 

him the best as he heads home from many 

months of hospitalization. 

The Saturday evening gathering featured 

fine musical performances by the Mary Sue 

Taylor Trio, the Atlanta local’s annual schol- 

arship winner violinist Chelsea Sharpe, and 

the extra treat of John Head sitting in on 

trumpet, playing with great passion, feel and 

taste. 

The second day began as Ross, speaking 

as a rank-and-file AFM pension trustee, 

reported to the members on the latest news 

from the pension fund. She gave a demonstration 

of the new pension estimator, which 

gives members a chance to check out their 

options for taking their pension at different 

ages and contribution levels. 

Kirk demonstrated her local’s educational 

presentation entitled “What’s The AFM?” 

which effectively outlines the important topics 

to address when reaching out to young 

musicians. RMA International President 

Marc Sazer gave a positive report on the 

improved relationship between the AFM 

and recording musicians, which is manifesting 

itself with increased cooperative efforts 

on new use collection, contract enforcement 

and more. 

“The overriding theme of the weekend 

was increased communication and shared 

resources, and many new connections were 

made. Thanks to John and all the folks from 

Atlanta for doing such a great job of hosting 

the conference,” Pomeroy said. 

Next year’s Southern Conference is scheduled 

to take place in New Orleans. 

— Staff report 



Final $50K in NMA Flood 

Relief Funds distributed 

The Nashville Musicians Association 

Flood Relief Fund distributed the 

final $50,000 of its donated funds in 

June 2011, ending its yearlong charity effort. 

Local 257 established the non-profit fund 

after the historic flood in May 2010 to offer 

assistance to musicians who suffered losses 

during the disaster. 

The flood relief fund has written a total of 

Additional sponsors needed 

for ‘Musician’s Corner’ 

Local 257 is actively looking for 

additional sponsors for the “Musician’s 

Corner” Saturday afternoon concert 

series held in Centennial Park, currently on 

hiatus until Sept. 2 due to the heat. 

For the first time this year there has been 

money set aside in the organization’s budget 

to pay backup musicians, and Local 257 

officers hope to help find enough additional 

funding to the fall season to ensure that the 

AFM Members can sell their 

music at GoPro Tunes 

The AFM has just launched GoPro 

Tunes to sell AFM member music 

online. Musicians have complete 

control of this non-exclusive marketing and 

sales tool; retain all rights to their material, 

set the price, and desired audio format. 

Best of all, musicians will receive all the 

revenue. Go Pro Tunes charges no processing 

fees, and they don’t take a percentage of sales. 

All proceeds, minus credit card processing 

fees, go to the musicians. 

If your record was done under an AFM 

contract, you can upload and sell it on the 

133 checks for a total of $131,169.33. 

Individuals, instrument/gear makers, 

corporations, small businesses and 

other nonprofits, including other labor 

organizations, Low Notes for Nashville, 

Nash2O and Retune Nashville, contributed. 

“We would like to say thank you to 

everyone who donated money and gear so 

generously to our fund. We are happy to 

have been able to lend some assistance to 

our brother and sister musicians,” said Dave 

Pomeroy, President of Local 257. 


supporting cast makes a reasonable minimum 

amount when they back up a featured artist. 

Headliners play for free in exchange 

for promotional consideration, but the 

supporting musicians deserve to paid fairly, 

President Dave Pomeroy said. “We have had 

positive discussions with Musicians Corner 

Executive Director John Tuminello about 

how we can support this community event in 

a way that will be good for everyone. If you 

have any ideas for potential sponsors, please 

contact Craig Krampf, Kathy Osborne or me 

at the local,” Pomeroy said. 


AFM’s new GoProTunes.com website at 

no cost to you. GoPro will only be able to 

accept music that was done under an AFM 

recording contract, such as limited pressing, 

master, single song overdub scale, or the new 

joint venture agreement. 

If you need help getting your project 

on a union contract, talk to the Local 257 

recording department and let them show 

you how easy it can be. “We are here to help 

you. We hope this leads to new opportunities 

and revenue for you,” said Dave Pomeroy, 

president of Local 257. 

For more information, go to www. 

goprotunes.com/primer. 


Fires destroy homes of 

AFM 257 members 

Sa t u r d a y 

fires three 

w e e k s 

apart in the 

Nashville area 

destroyed the 

homes of two 

Local 257 

members, Trace 

Adkins and 

Cowboy Jack 

Clement. 

Adkins’ home Cowboy Jack Clement 

burned June 

4, in Brentwood, Tenn., and Clement’s 

house and studio in Nashville’s Belmont 

neighborhood burned June 25. 

No one was injured at either incident. 

Both houses suffered heavy losses. Early 

reports indicated that both fires were caused 

by electrical problems. 

“Our hearts go out to Trace, Cowboy Jack, 

and their loved ones after these devastating 

events. Having been through a house fire 

myself in 2009, I know from experience that 

it is the love and strength of friends and 

family that gets you through the hard times. 

We ask all our brother and sister musicians 

to keep them in their thoughts and prayers.” 

Local 257 President Dave Pomeroy said. 


Next Membership Meeting 

Monday, Aug. 8, 2011 

George Cooper 

Rehearsal Hall 

Doors open at 5:30 p.m. 

Meeting starts at 6 p.m.

News cont. 

Two AFM recording initiatives 

open up new possibilities 

At the June International Executive 

Board (IEB) meetings, the board 

approved important changes to 

joint venture agreement, the band will 

be the employer in this case. They may be 

paid under the AFM Single Song Overdub 

was still too complicated, so we have greatly 

simplified it. The ‘ABCs of Single Song 

Overdub Scale’ is now available online at 

nashvillemusicians.org. Hopefully this will 

help sell this concept to your employer, who 

may have never signed an AFM Agreement 

before.” 

“In addition, the upgrade payment, which 

becomes applicable when 10,000 units are 

two AFM recording agreements for self- Agreement or Limited Pressing Agreement. sold or manufactured, was set at a rate that 

contained bands, and also musicians working In either case, sale or production of 10,000 was simply too high and was scaring people 

with independent artists. The proposals were copies will trigger an additional payment to off. We have modified this to be more 

presented to the board by IEB member the outside musician, as described in those realistic,” said Pomeroy. 

Dave Pomeroy. 

agreements. 

The upgrade payment for one or two songs 

Joint Venture Agreement 

Single Song Overdub Scale 

is now the equivalent of one special master 

session, currently $250.02 for sidemen 

In 2007, the AFM convention passed a The IEB also approved modifications to and $500.04 for leader. The first musician 

bylaw calling for a joint venture recording the Single Song Overdub Scale, initially to execute an agreement and overdub on 

agreement. Some time later, one was created, developed in 2010. This scale has been under- a project will be designated leader on the 

but it lacked essential protections, and was utilized, so some important changes have upgrade, which will also pay additional 

not widely publicized or used. Over the past been made to make it more understandable, H&W and pension contributions. For more 

few months, AFM Vice President Bruce affordable, and simpler to use. 

than two songs, the upgrade will be one 

Fife, and IEB members Tina Morrison, The Single Song Overdub Scale is for master session for each 15 minutes of music, 

Tino Gagliardi, and Pomeroy, along with overdub work typically done in a home studio currently $380.02 for sidemen and double 

AFM Director of Freelance Services Paul by a single musician for an independent artist for leader. 

Sharpe, worked together on improving the or label. The per-song rate is negotiated by “We want to make using this scale as 

joint venture language. 

the musician, with a $100 per song — or easy as possible for all concerned. We are 

“The result is a tighter agreement that hourly — minimum rate. There is no leader available to explain any of this to you or your 

makes sure that the band is protected in provision in this agreement, and song price employer,” Pomeroy said. “The agreement 

the event things take off, and assures that can vary according to the difficulty or has a fair amount of unavoidable contract 

companies or employers cannot use this number of parts for each song. 

language, but what it essentially means is 

agreement to take advantage of musicians,” The pension, H&W, and all “extras” have that you are protected and will receive an 

Pomeroy said. 

been built into the total payment amount, additional payment if the song or album 

The joint venture agreement is designed which goes up in $50 increments from crosses the 10,000 copy threshold or is used 

for self-contained bands that own and sell $100 to $500 on the scale worksheet. There in a film, commercial or is picked up by a 

their own product at shows and online. This is no maximum. Best of all, the musician major label.” 

agreement allows a band to define each is permitted to contribute into their own “The employer will need to become a 

member’s percentage of ownership of the AFM-EP pension account through the signatory to the AFM Sound Recording 

recording without the need to hire a lawyer. local. This is the only AFM recording scale Labor Agreement if any of those situations 

This gives musicians the ability to protect that allows you to do so. 

materialize, but other than the player 

themselves if their project is picked up by Up to 12 songs in six months can be upgrades, they will not have to pay anything 

a label, or in the event of a dispute between recorded for one artist under one single song else until 34,000 copies are sold, at which 

band members. 

agreement. Multiple musicians can work point they would begin to pay a small 

In order to qualify for this agreement, under one agreement only if they all appear amount of money into the AFM Special 

which exempts the band from the normal on every track and work for the same rate, Payments Fund,” Pomeroy said. 

SRLA scale, Heath and Welfare (H&W) otherwise they must file separate agreements To get answers to any questions about 

and pension requirements, the following signed by the employer. 

the new provisions of the Joint Venture 

criteria must be met: 

The agreement can be “signed” and Agreement or Single Song Overdub scale, 

1. AFM members on the recording date executed by the employer online, and the call or email the recording department 

are self-producing or collaborating in self- musician then turns in the paperwork to at Local 257 and they will help you use 

production, are in creative control over the local and pays the pension contribution these new and improved agreements to full 

material and the recording process, and are at the conclusion of the work. This scale advantage. Call Juanita Copeland at 615not 

providing a service for hire. 

can only be combined with AFM limited 244-9514 or email Juanita@afm257.org. 

2. There is no employer. 

pressing or joint venture agreements, and 


3. The purpose of the recording is to cannot be used for AFM signatory labels. 

produce a demo to obtain work for live Pomeroy, who originally created the 

performing or the purpose of the recording Single Song Overdub Agreement, felt 

is to produce a product for sale and the the document needed simplification and 

proceeds from sales exclusively benefit band other modifications. “After living with 

members. 

this agreement for a year, we realized that 

If the band uses outside musicians on a few things needed to be improved. The 

the recording who are not a part of the introductory explanation of the agreement 



Jim 

Lauderdale 

Jim Lauderdale releases 20th album 

Reason and Rhyme, (Sugar Hill) Jim Lauderdale’s new bluegrass 

album, is the singer-songwriter’s 20th release. Each track was cowritten 

with lyricist Robert Hunter, with whom Lauderdale has 

written since his first record. 

Lauderdale worked with several other Local 257 members on 

Reason and Rhyme including Mike Compton (mandolin), Jay Weaver 

(bass), and Scott Vestal (banjo). 

This year Lauderdale was also honored with induction into the 

Blue Ridge Music Hall of Fame in North Carolina. He joins former 

inductees Emmylou Harris, Doc Watson, Ralph Stanley, the Carter 

Family and Earl Scruggs. 

Vince to get a Walk of Fame star 

Local 257 member Vince Gill will be honored with a star on the 

Hollywood Walk of Fame in 2012. The Country Music Hall of 

Famer guitarist will join Jennifer Anniston, Scarlett Johansson, 

Matt Groening, Adam West, Barry White and rock band Heart in a 

ceremony next year. 


Heard on the Grapevine 

Kix Brooks 

to star in 

Western 

Kix Brooks — formerly 

half of the enormously 

popular duo Brooks 

and Dunn, with Ronnie 

Dunn — is starring in 

To Kill A Memory, a 

western about a famous 

bank robbery in the 

1920s called the “Midday 

Massacre.” Brooks, 

who was a theater 

major in college, also 

has written most of 

the musical score for 

the film, due for release 

this year. 

Brooks does not 

Kix Brooks 

complete dismiss the 

possibility of reuniting with Dunn in the future. “We never said that 

we wouldn’t make any music together again ever, but that’s not our 

plan, just to circle back and see you in a year or two. We may or we 

may not,” Brooks said. 

Rick Derringer an All Starr 

Local 257 member Rick Derringer (below right) is performing with 

Ringo Starr and the All Starr band on a tour of Europe that kicked off 

June 4. The rest of the line up includes Edgar Winter, Gary Wright, 

Richard Page, Wally Palmar and Gregg Bissonette. 

Got an item for the Grapevine? 

Send your news and notes to 

Managing Editor Kathy Osborne. 

kathyo@afm257.org 

11

Heard on the Grapevine cont. Gallery 

The Band Perry picks up more awards 

Local 257 members The Band Perry won multiple honors at the 

2011 Music Row awards, held June 21 in Nashville. Front woman 

Kimberly Perry won the Breakthrough Songwriter award and her 

No. 1 song “If I Die Young” was given Song Of The Year. Band Perry 

also took honors for Breakthrough Artist. It’s the first time one act 

has been given three awards. 

The MusicRow Awards are determined annually by the votes from 

the publication’s readers. 

Round the World 

with Kenny G 

Local 257 member Vail Johnson 

is in the middle of Kenny G.’s 

Round the World Tour 2011. 

Johnson, who plays bass, sings, and 

is also Kenny G.’s music director, 

has been a member of the local 

since his move to Nashville in 

Vail Johnson 2010. So far this year he and the 

band have performed throughout 

South America, Central America, the Middle East, Asia and Europe. 

Johnson has also worked with Stevie Nicks, Herbie Hancock, 

Whitney Houston and many other performers. 

Albumman visits Nashville, Local 257 

A dedicated record collector with a zeal for autographs visited Local 

257 in April, and added hundreds of new signatures to some of his 

18,000 LPs. The Waukesha,Wisc., resident, who legally changed 

his name from Jim Compton to “Albumman,” has achieved some 

notoriety from the media for his vast collection and diligence as an 

autograph seeker. In addition to local reports, his story was featured 

on a PBS special, and his picture was printed on the ticket for a 

Wisconsin rock festival. 

Albumman advanced his visit by setting appointments with several 

Local 257 members who were happy to oblige. Craig Krampf, one of 

the signers, particularly enjoyed his session with Albumman. “Many 

of us had the same impressions: There were records there that we had 

forgotten about or hadn’t thought of in ages. It was so awesome to 

look at the cover, relieve moments and re-tell stories,” Krampf said. 

Some of the members who visited with Albumman and added to 

his vast signature collection include Harold Bradley (pictured at left 

below with Albumman), David Hungate, Weldon Myrick, Buddy 

Spicher, Bergen White, Bobby Emmons, Bob Moore, Farrell Morris, 

and many others. 

Albumman plans to return to the local in the future with some of 

his record collection to try and connect with players he has not yet 

reached for their autographs. 

Billy Linneman leaves hospital 

Former Local 257 Secretary/Treasurer Billy Linneman has finally 

returned back home after more than six months of hospital time 

following a series of serious medical problems that nearly took his 

life. Congratulations, Billy! 

Song Charting Made Easy 

By AFM 257 member Jim Riley 

Is your personal introduction to 

The Nashville Number System. 

Includes over 90 musical examples and custom-mixed, 

play-along tracks to guide you from the most basic concepts 

to the most intricate details of the system. 

www.thenashvillenumbersystem.com 



1 2 


5 

1. Bill Wence, pianist and record promoter, stopped by to receive his AFM 25year 

pin. He joined Local 257 April 14,1976. Dave Pomeroy presented Wence 

with his long overdue award! 2. Billy Cox and his wife, Brenda, listen as Craig 

Krampf reads a proclamation from Local 257 recognizing his career achievements 

and celebrating his latest honor, the 2011 Legends Award, presented 

by the Nashville Fringe Festival last month. 3. Broadway and television star 

Kristen Chinoweth was a special guest performer on CMT’s Next Big Superstar 

finale episode during CMA Music Fest, singing her new single, “I Want 

Somebody” backed by Local 257 and AFTRA members (l-r) Kim Parent, Eddie 

Bayers, Beau Davidson, Jason Roller, Steven Sheehan, Gary Prim and Dave 

Pomeroy. 4. Tony Harrell has generously loaned the local his white baby grand 

piano for use in the rehearsal hall. The hall can be reserved at no charge by 

active Local 257 members, and also is equipped with a P.A., bass amp and 

more. 5. Bassist Dave Francis receives his AFM 25-Year pin and congratulations 

from Secretary-Treasurer Craig Krampf. He joined Local 257 on April 

29, 1986. 

4 

3 

13

Gallery cont. 

1. Jason Aldean (right) with Local 257’s Kurt Allison, lead guitarist, tearing 

it up on the big stage at the 2011 CMA Music Fest. The June event 

gives fans and artists a chance to mingle, and in the 40-year Fan Fair 

tradition, there were fan club events and shows all over Nashville. 2. 

Nonprofit flood relief organization Nash2o founders George Gruhn, 

Bruce Bouton and Joe Glaser, along with publicist Jayne Rogovin present 

a donation of $26,000 May 19 to the Nashville Musicians Association 

Flood Fund. (L-R) Rogovin, Craig Krampf, Gruhn, Dave Pomeroy, 

Bouton, and Glaser. 3. Music Row Album All-Star award winners Tony 

Harrell (keyboards) Ilya Toshinsky (guitar) Jimmy Lee Sloas (bass) and 

Jonathan Yudkin (violin) break into a jam after receiving awards recognizing 

their contributions to the most country chart albums over the past 

year. Other Local 257 winners included Shannon Forrest (drums) Paul 

Franklin (steel guitar) and Paul Worley (producer). 4. Local 257 member 

Jimmy Hall and his dog Gibson visit the local on a recent spring day. 

4 

14 April - June 2011 


2 

1 

3 

The Nashville Musician interview: 

Norbert Putnam 

F 

ew men in the history of popular 

music have had a career comparable 

to bassist-producer and longtime 

Local 257 member Norbert Putnam. 

While still a teen, Putnam made history 

as part of the original Muscle Shoals rhythm 

section, playing bass on Top 40 hits by a 

artists such as Arthur Alexander, Tommy 

Roe and The Tams. 

By the mid-’60s, he and the other members 

of the Muscle Shoals rhythm section — 

keyboardist David Briggs and drummer 

Jerry Carrigan — had made the move to 

Nashville. The bassist quickly became part 

of a loose group of younger musicians who 

were first call for the growing number of 

rock, folk and R&B recordings being made 

in Music City. 

Putnam was the bassist in Area Code 

615, the session super group formed by eight 

of these younger Nashville cats. The Code 

released two groundbreaking albums in 

1969 and 1970 which strongly influenced 

the burgeoning country rock and Southern 

rock subgenres. 

In 1970, Putnam and Briggs opened 

Quadrafonic Studio, which would become 

a recording destination for a variety of 

well-known artists, from Neil Young and 

Joe Walsh to Dan Fogelberg and Michael 

Jackson. 

Putnam made the jump from sideman 

to producer when Kris Kristofferson backed 

out as producer on a record with Joan 

Baez in Nashville and suggested him as 

a replacement. The result was Baez’s first 

platinum album Blessed Are..., and the 

Top 10 single, “The Night They Drove 

Old Dixie Down,” which went all the 

way to No. 3 during a 13-week run on the 

Billboard Hot 100. 

Impressed with the unexpected success 

he had with Baez, Columbia Records chief 

Clive Davis tapped Putnam as his go-to 

guy for the folk rock artists on the label’s 

roster. The first artist he sent the producer’s 

way was Dan Fogelberg, which led to more 

platinum success. In fact, every artist who 

went platinum under Putnam’s direction 

had never even had a gold record before. 

Over the next decade or so, Putnam 

brought his magic touch to recordings by 

Jimmy Buffett, New Riders of the Purple 

Sage, Donovan, Pousette Dart Band, Eric 

Anderson, Buffy Sainte-Marie, The Flying 

Burrito Brothers and John Hiatt. 

In the early ‘80s, Putnam retired from 

the music business to spend some time as a 

“normal person” for the first time in his life. 

Putnam, who has come out of retirement, 

recently sat down with The Nashville 

Musician to discuss his celebrated career 

and his plans for the future. 

You retired from the music business in the 

‘80s. What led to that decision? 

I decided to go away and spend time with 

my children. I had been working in the 

recording studios for 24 years, and most of 

that time had been 12-to-15-hour days. I 

never knew what it was like to come home at 

six and have dinner with the family. I wanted 

to experience that. 

Recently, you reversed that decision and 

have resumed producing and performing. 

What made you change your mind? 

My wife Sheryl and I relocated to Jackson, 


Photo by Jean Fogelberg 

Tenn., five years ago and purchased a large 

1935 neoclassical house with a tremendous 

four-room basement. I converted the space 

into a modern digital recording studio. As 

you may know my most successful studios, 

Quadraphonic and the Bennett House were 

all well-made older homes. I then started a 

publishing company with my friend Randy 

Moore and after a year of making demos, the 

bug to record and produce started to come 

back. 

You originally got into producing by 

accident, right, when you produced Joan 

Baez’s Blessed Are... album? 

What happened was Joanie called me and 

said she wanted me to lead the sessions. She 

said she wanted to make a hit record and 

wanted me to get some of the musicians I 

worked with to play on it. 

Kris Kristofferson was supposed to be 

15

1 

the producer, but on the day of the first 

session, Kris was feeling a little anxiety about 

producing — he was uncertain about the 

technical aspects, that sort of thing. 

He called me aside and said, “I talked with 

Joanie and I think you should produce. I’ll 

hang out and help with anything I can do, 

but you should produce.” And I was thinking, 

“How much money did I need to pay her, 

’cause this is a great opportunity.” 

The Dan Fogelberg tribute album you’re 

currently producing sounds interesting. 

Can you talk about that? 

I am always ready to talk about Dan and his 

immense talents. As most people know, he 

died a few years ago from advanced prostate 

cancer. He had no real symptoms to speak of 

until it was too late for treatment. 

His widow Jean, who had begun working 

with the Prostate Cancer Foundation, called 

to ask it I had any ideas for fund raising. I 

immediately suggested a tribute album. 

How far along are you in the production and 

who are some of the artists participating in 

the project? 

The project is now well underway with 

recordings by Michael McDonald, Donna 

Summer, Randy Owen, Don Henley, Joe 

Walsh and Zac Brown. Each artist is singing 

a favorite Fogelberg song. We hope to finish 

by the end of summer. 

Another interesting project you are 

developing is Uh Band of Legends. What 

are your plans for that project? 

Uh Band of Legends is a group of famous 

studio players who like to tell stories of 

2 3 4 

1. Norbert Putnam (right front) with Tommy 

Roe (center), Ray Stevens (top) and other 

members of the original Muscle Shoals 

rhythm section. 2. Putnam on Elvis’ left at 

RCA Studio B with the rest of The King’s 

men in 1971. 3. The first-time producer with 

Joan Baez at Quadrafonic Studio during the 

making of Blessed Are .... 4. More recently 

at home with coproducer Sophie. (Photos 

courtesy of Norbert Putnam — full captions 

at http://nashmusicians.press.com.) 

their days recording and touring with all the 

legendary stars. Our core group played with 

everyone from The Beatles to Elvis to Billy 

Joel to Kenny Chesney. 

When we perform, we tell stories and play 

songs in tribute to the great ones. We then 

invite the audience to ask questions about 

our moments with their favorite star. We are 

making plans to tour extensively next year in 

Europe. 

Also, you’re preparing a musical memoir — 

what approach are you taking with that? 

My wife Sheryl has pushed me for years 

to write down the stories I tell at dinner 

parties. These stories are usually prompted 

by the host asking if I ever worked some of 

the lesser-known acts like J.J. Cale or Tony 

Joe White or Jerry Jeff Walker. And I have 

to admit after a few glasses of red wine, the 

raconteur in me rears his ugly head and out 

comes a funny story. 

So over the last 10 years, I began to write 

them down and now I have ninety thousand 

words ready for assembly in some order. I 

hope to finish by the end of this year. 

Before you became a hit producer, you 

played bass on a lot of historic sessions, 

both as a founding member of the Muscle 

Shoals rhythm section and as a Nashville 

cat. What sessions stand out most in your 

memory all these years later? 

The early sessions in Muscle Shoals were with 

producer Rick Hall, who made hit records 

with a bunch of teenagers. Rick took Jerry 

Carrigan, David Briggs and myself through 

his FAME recording studio sweatshop and 

made musicians out of us. 


We were making hit records with Arthur 

Alexander, The Tams and Tommy Roe in 

the early ’60s. In 1964, that original Muscle 

Shoals section opened the first Beatles 

concert in Washington DC. 

By 1965, we had relocated to Nashville 

and there we began to work more pop, rock, 

and R&B sessions in Nashville’s golden 

age. I played on big pop hits by Tony Joe 

White (“Poke Salad Annie”), The Vogues 

(“Five O’Clock World”), Bobby Goldsboro 

(“Honey” and “Little Green Apples”) and 

in the span of one day you could play bass 

with Loretta Lynn, Al Hirt, Henry Mancini 

and Elvis Presley. And after Dylan came 

to town — in came Joan Baez and all the 

folkies. Nashville in the ’60s and ’70s was a 

very diverse musical landscape. 

But if you ask me to name a favorite, it’s 

Elvis Presley — the most dynamic singer I 

ever worked with. A session with The King 

was an athletic event. Elvis exhibited more 

unbridled power and strength than all the 

others put together. I played bass on 122 

Elvis tracks, I speak about this at length in 

my book. 

In the time since you retired, the music 

business has undergone major upheavals. 

What are your thoughts on the emerging 

digital paradigm? 

I find it all very exciting. The old paradigm, 

whereby the major labels, in collusion with 

terrestrial radio, controlled all hit records is 

slipping away. Artists today are looking to 

control, manage and own their destiny. I have 

no idea how it will all work out but it is sure 

a lot more fun to consider the possibilities. I 

want to be a part of it! n 

16 The Nashville Musician 

SPONSORED BY: 

Thank You! 

When the flood waters rose and we needed 

your help, you came through big time. 

The Nashville Musicians Flood Relief Fund offers our heartfelt “THANKS” to everyone 

who contributed money and gear to help musicians affected by the Nashville 

Flood of May 2010. With your invaluable help, we raised and distributed over 

$130,000 in funds and more than $60,000 worth of gear to musicians who really 

needed it. There are too many of you to thank individually, but we want you to know 

that we really appreciate your assistance. We are proud of what we were able to do 

to help our fellow musicians, but we couldn’t have done it without YOU! 

MUSIC CITY’S LARGEST MUSICAL INSTRUMENTS SHOW! 

PUBLIC Day 

 

TICKETS $20 

To buy tickets or for more info, visit www.namm.org 

SN11_NashMusician.indd 1 7/6/11 11:25 AM

LET THE 

HEALING BEGIN 

Dolly Brings Better Day To The World 

When Dolly Parton came to 

Nashville in 1964, gleaming 

and barely out of high school 

in Sevier County, Tenn., 

she just wanted a job making music. The 

fourth of 12 children, she had spent her time 

preparing for that day, and it was an act that 

would save her from a life too confining for 

her dream. 

Today — after more than 40 years in 

Nashville — and a stardom that defies 

description, Parton is trying to save the rest 

of us. 

With her new record, Better Day, she is 

delivering a simple message of hope and love 

at a time she feels the world needs it most. 

And, with the daunting issues that face us 

daily, it’s hard to disagree. A world tour to 

support Better Day begins in Knoxville July 

17, and Parton, a Local 257 member since 

1967, will be taking that message with her. 

“We could be happier if we could be 

simpler,” she said recently from her home. 

“We get caught up in all the details, all the 

technology — it’s hard to be simple anymore. 

True love and pure love is a wonderful thing 

to think about and to write about, and that’s 

what I’ve done with Better Day.” 

Parton wrote the 12 songs that appear on 

her own Dolly Records release, cowriting 

one with Mac Davis. 

“I wanted to do something, even on the 

love songs that I did — they may start out 

heartbroken — that are about life experiences, 

and most of them have an uplifting message 

— that element of hope. It fits things whether 

it’s your love, or your job. 

“We’re gonna make it you know, we’re 

gonna get through this. That’s why Better 

Day is the title song — that’s the whole 

idea.” 

The album follows Backwoods Barbie from 

2008, and is Parton’s 90th release, including 

collaborations and compilations, and is 

significant in that it represents the sixth 

straight decade in which a Dolly record has 

appeared. She has recorded 25 No. 1 singles, 

and 41 Top Ten country albums. 

By Warren Denney 

Surprisingly, Parton feels she could have 

been more prolific as a recording artist, but 

for the fact that she never felt compelled to 

be a hit maker, and given her focus on other 

interests and accomplishments — that of 

actress, songwriter, author, head of her theme 

park Dollywood in East Tennessee, and the 

nonprofit Dollywood Foundation. 

“I’d have been a bigger recording artist if 

I’d tried to just be commercial,” Parton said. 

“But as a songwriter, as a singer, I like to 

record what it is I’ve been writing at the time 

whether it’s all that commercial or not. I don’t 

try to write something just for the radio or to 

have hits like somebody else. I just really am 

“We’re gonna make 

it you know, we’re 

gonna get through 

this. That’s why 

‘Better Day’ is the 

title song — that’s 

the whole idea.” 

one of those heart writers — heart singers. 

I just record whatever I’m going through at 

the time or what I need to say to my fans at 

the time.” 

This is certainly the case with Better Day. 

Songs like “In The Meantime,” “Somebody’s 

Missing You,” “Together You And I,” “The 

Sacrifice,” “Shine Like The Sun,” “Let Love 

Grow,” and the title track, all speak to the 

incredible power of hope and the resilience 

of the human spirit. 

She firmly believes people need that 

reassurance. 

“Oh my God yes!” she said. “With all the 

craziness going on — all the storms — all 

the devastation. Things going to hell in a 

handbasket. It seems we just feed on gossip 

and greed. I thought I’m just not going to do 

a bunch of sad-ass songs. I’m gonna try to 


lift people up a little bit and I want to write 

myself out of this heavy heart. 

“One of my favorite songs on the whole 

album is the song “In The Meantime.” 

People have been talking about the end of 

time forever. Only God knows when that’s 

going to happen. Are we just going to wait 

around for it, or ‘in the meantime’ are we 

going to get to loving and try to make things 

right? The end of the world and the end of 

times are not necessarily the same things. 

“We’re going to end the world with our 

own hands — that’s not God’s time — that’s 

our time. That song is very inspiring to me.” 

Parton’s fans are legion and loyal, a diverse 

group that represents a broad spectrum of 

American culture. Though an iconic country 

artist, and member of the Country Music 

Hall of Fame, Parton, through film and 

crossover hits, has transcended genre. She 

considers herself deeply spiritual — but not 

very religious — and open to all things. She 

is known for a sometimes bawdy sense of 

humor, and a supremely welcoming nature. 

You can hear that nature in her voice, and 

given her essence, it should come as no 

surprise that she cares deeply for her fans, 

and seeks to comfort them. 

“People know I love them,” she said. 

“I’ve been around so long. People feel like 

they know me – they feel like I’m a family 

member. I have people come to me and say 

‘you remind me so much of my aunt … you 

remind me so much of my sister.’ I really 

love that. I think a lot of that comes from 

me relating to them because I see my own 

family in everybody. I see somebody I love in 

everybody I meet.” 

With Better Day, she continues to give of 

herself, and feels like she puts a complete life 

into each record she makes. That earnestness 

carries a price, as people tend to look to her 

for happiness only. 

“[It’s true] especially from where I’m at, 

at the time,” Parton said. “With this record, 

I needed to do something positive and up. 

Now, I can sing the tar out of a sad old song, 

but nobody really wants to think about me 

19

eing sad. They don’t care that I can sing 

them – they don’t want to think that I’ve 

suffered because they think if Dolly’s suffered 

then we really are in trouble! 

“It’s funny, I love to sing sad songs — 

people just don’t want to hear them. I’m not 

always happy. I am a writer. I’m very deep 

and I’m very sensitive. I have to live with 

my feelings on my sleeve in order to write 

my feelings — and everybody else’s. I try 

not to harden my heart even when I get it 

broken — I have to strengthen the muscles 

around it. 

“I have to keep it where I can feel enough 

to write, so when I take a song on, I’m writing 

what I’m feeling whether it’s happy or sad. If 

I’m writing or singing a song I’m going to 

mean it.” 

This is the duality of Dolly. 

“I keep myself anchored in spirituality. 

I’ll never be a star to me,” she said. “I’m a 

working girl. I’m more of a workhorse than 

a show horse, really. I work all the time and I 

ask God not to ever let me lose sight of what 

I should be doing and what I can do to bring 

joy to other people — not just to myself. I 

do have to be happy with myself in order to 

spread any joy I have — to have it come from 

an honest place.” 

“Every day I wake up and do my little 

meditations and my own kinds of prayer. I 

talk to God and work it up to where I say 

okay I’m ready. You lead me. You guide me. I 

always pray for tolerance.” 

With Better Day, she has captured her 

spirituality and her joy, and the listener is 

easily swept along. Parton’s Mighty Fine 

Band is extremely tight, and her vocals have 

the same power, energy and sincerity she 

brought to the microphone years ago. Her 

range seems ageless, undiminished. 

The title track is part recitation, part 

down-home country blues, and a soulful 

affirmation of Parton’s worldview, as heard in 

these lines: Now we don’t know what heaven 

looks like / but we’ve seen enough hell right 

here and right now / But when the road is the 

roughest / and the problems are the toughest 

/ Or when the times are the hardest / and 

that ’ol sky turns the darkest / You gotta keep 

the faith ‘cause I believe there’s a better day. 



The wistful “Somebody’s Missing You” 

is a reminder of the power of love — even 

in the face of absence. It is a song gently 

accented with Paul Hollowell’s piano, Randy 

Kohrs’ dobro and Jimmy Mattingly on 

fiddle, flavored with the background vocals 

of Emmylou Harris and Alison Krauss, 

punctuated with Parton’s longing and 

plaintive emotion. Her heart is going out to 

someone, again with the confirmation that 

love is always there. 

But, the track that embodies it all is the 

single “Together You And I.” The message 

is one of unconquerable hope for those who 

choose to tackle life’s problems together. 

Witness the reassuring lines: Together 

you and I can stop the rain and make the 

sun shine / Paint a pretty rainbow brushed 

with love across the sky / Together you and I 

belong like a songbird and a song / And we’ll 

always be together you and I. 

Better Day was recorded primarily at The 

Sound Kitchen in Franklin, Tenn., and was 

produced by her band leader, Kent Wells. 

Stalwart band members include Hollowell 

on piano, Steve Turner on drums, Steve 

Mackey on bass and Mattingly on fiddle 

and mandolin. Notable guest appearances 

include the legendary Pig Robbins on piano 

and Lloyd Green on steel guitar in “Country 

Is As Country Does,” the tune cowritten 

with Davis. 

Richard Dennison heads up the vocal 

group that primarily includes Jen O’Brien 

and Vicki Hampton, though there are other 

celebrated guests here as well. 

“I did the record with my band — the 

group I work with and the band I’ll be 

traveling with on the tour, with just a couple 

of exceptions,” Parton said. 

The tour is bold — and huge — with 

Parton performing in the states through 

August, before leaving for dates in the United 

Kingdom, Denmark, Sweden, Ireland, and 

Australia. It wraps up in late November. 

She is extremely popular wherever she goes, 

largely due to her on-screen success she 

claims, and in particular, the defining film 9 

to 5. It is a far cry from the girl who played 

the Cas Walker Show in Knoxville, and the 

girl who hustled it to Nashville in 1964 for a 

shot at her dream. 

“The older I get, the more humble I 

become about it because I know this was 

my dream,” Parton said. “They tell me when 

the tickets went on sale overseas they were 

selling immediately, and I thought ‘Oh my 

God, thank you Jesus’ — after all these years 

this was my dream – I’ve been at it all this 

time. 

“Just to think that I’m still around this at 

my age and just as excited about it and people 

are still genuinely excited about me. That’s a 

lot to be thankful for. It does touch me. I 

also feel like when I get to do this … I pray 

every day that God will lead me and let me 

shine. In my own country way, whether it’s 

with humor, I ask God to let me be gracious 

and carry that light. So when I go around the 

world I’m kind of preaching the gospel. 

“I’d like to think I’m a goodwill 

ambassador for the whole United States, not 

“I came here to get 

a job making music, 

and I knew if I got 

that job that I would 

make the most of it.” 

just for country music. And I love that I’m 

accepted all over the world. I don’t take that 

for granted. Believe me, my heart is full of 

gratefulness and joy because of it.” 

Though genuinely humble, Parton makes 

no bones about her motivation for embarking 

on this journey those many years ago. And, 

again, it is reflected in the all-encompassing 

duality of Dolly. 

“I came here to get a job making music, 

and I knew if I got that job that I would make 

the most of it,” she said. “My dream was to be 

a star because of my music. I wanted to be a 

A music transcription and arranging service in Nashville 

TRANSCRIPTIONS ARRANGING 

 

 

 

 

 

 

 


recording artist, I wanted to travel and to be 

on stage. I wanted to perform, and I wanted 

to be rich. There’s a song on the new record 

— and if you want to know me then listen 

to “Sacrifice.” 

“It talks about people like me. I mean I 

came here and I thought ‘there’s no way I 

could be any poorer than I am in the Smoky 

Mountains. I don’t have many opportunities 

except to get married and have a bunch of 

kids, and follow that same thing over.’ And, 

there’s nothing wrong with that — but I had 

different dreams and I thought, well, they’re 

not gonna kill me in Nashville.” 

She was right. They didn’t. Instead, they 

embraced her, and the city has been lucky to 

have Parton as an anchor as the years have 

flown by. Amazingly, here she stands, poised 

to spread love and joy on an ever-evolving 

stage. The fans are waiting — and in need — 

hoping for that better day. 

“This could have gone any way,” Parton 

said. “I’ve seen many people who don’t get to 

live to see their dreams come true. And, for 

me to see them come true and for me to be at 

this age and still able to see them come true 

— I’ve got a lot to be grateful for. I’m very 

appreciative of the fans and just grateful that 

God gave me the gift of music.” n 

 

 

 

 

 

All work done exclusively using Finale Notation Software 

615.373.0046 

www.SkipperAndCrewMusic.com 

21

Reviews 

BACK TO 

THE FUTURE 

New Roy Orbison set 

features his seminal 

recordings and more 

By Daryl Sanders 

There was little in Roy Orbison’s 

recordings for the Sun and RCA 

labels in the mid-to-late ’50s to 

suggest the seminal rock and pop recordings 

he would make after moving to Monument 

Records in the summer of 1959. 

His first release for Monument, “Uptown” 

backed by “Pretty One,” peaked at No. 72 

on the Billboard pop singles chart and also 

gave little hint as to what was to follow. 

Recorded on Music Row at RCA Studio B, 

“Uptown” is a swinging number reminiscent 

of the recordings Elvis Presley was making 

in the same Nashville studio with the same 

core of musicians — guitarist Hank Garland, 

pianist Floyd Cramer, bassist Bob Moore 

and drummer Buddy Harman, all AFM 257 

members. The B-side, “Pretty One,” however, 

held clues to the masterpiece that would be 

made at Orbison’s very next session. 

When longtime Local 257 member 

Orbison entered Studio B on March 25, 

1960, and recorded “Only The Lonely,” he 

made an artistic leap which permanently 

changed the popular music soundscape, 

delivering an operatic rock ballad, complete 

with strings and ubergroovy backing vocals 

(“Dum dum dum, dum dee-doo-wah”) by 

cowriter Joe Melson and the Anita Kerr 

singers, which showcased his multi-octave 

vocal range. Originally written for The 

Everly Brothers, the song — which went 

all the way to No. 2 on the Billboard chart 

and topped the British singles chart — not 

only influenced a generation of rock artists to 

follow, it catapulted Orbison to stardom. 

You can hear the aforementioned songs 

and much more on Roy Orbison: The 

Monument Singles Collection (1960-1964), 

a new collection from Sony featuring 

remastered versions of the A and B sides of 

all of Orbison’s singles for the independent 

label on two discs — 39 total tracks. The set 

also includes a DVD, The Monument Concert 

(1965), which features Orbison and his band 

performing nine songs live on the popular 

Dutch television show, Combo. 

For anyone familiar with earlier Orbison 

CD releases, these remastered tracks are 

impressive for their sonic clarity. The A-Sides 

disc, of course, features all Orbison’s biggest 

hits except one, including “Running Scared” 

(No. 1), “Crying” (No. 2), “Dream Baby” (No. 

4), and of course, “Oh Pretty Woman” (No. 

1). The lone exception is “Mean Woman 

Blues” (No. 5), which was the B-side to “Blue 

Bayou.” 

As you might expect, The B-Sides disc holds 

the real surprises of the collection. 

Orbison’s treatment 

of the Boudleaux 

Bryant standard, “Love 

Hurts,” is a real gem, 

as are the tropicalflavored 

“Leah” and 

the Spanish-influenced 

“Yo Te Amo Maria.’ 

He even breathes 

life into the ancient 

Stephen Foster classic, 

“Beautiful Dreamer.” 

Listening to this box 

set, the wide variety 

of musical influences 

Orbison and the 

musicians pack into the 

pop-song framework 

is striking. During his 

early years in West 

Texas, he was exposed 

to a broad range of 

musical styles, including 

country, R&B, Tex- 

Mex, orchestral music 

a n d 

zydeco. As the liner notes for the set 

state, the recordings “owed as much to Ravel 

as to rhythm & blues.” 

One name appears over and over again in 

the credits accompanying this two-CD set: 

Bob Moore. Lifetime 257 member Moore 

was not only the bassist and session leader on 

all but four of the 39 tracks (and three of those 

were recorded without a rhythm section), he 

is credited as conductor on Orbison’s most 

successful singles. Usually, his partner in time 

on these recordings was another Lifetime 

member of the Nashville local, drummer 

Buddy Harman. In a recent interview with 

The Nashville Musician, Moore described the 

sessions with Orbison as a creative process 

with everyone working toward the goal of 

producing something of excellence. 

The bonus DVD, The Monument Concert 

(1965), is priceless, albeit dated looking in 

this age of cinematic music videos. Recorded 

March 25, 1965, in The Netherlands, the 

eight performances included show Orbison 

at his peak, backed by his touring band of 

Nashville cats: 257 member Billy Sanford 

(lead guitar), John Rainey Adams (rhythm 

guitar), Billy Dees (keyboards, backing 

vocals), Bill Gilmore (bass), Paul Garrison 

(drums) and Barry Boothe (piano). 

The black-and-white concert footage runs 

25 minutes in length, and in addition to 

seven of his hits, includes Orbison working 

out on Ray Charles’ “What’d I Say.” The 

Dutch audience was comprised mostly of 

smiling teenagers, who, although extremely 

polite, seem to have enjoyed themselves. The 

one thing missing from these performances is 

the tight and inventive backing vocals present 

on the studio recordings. 

The two discs and DVD provide a potent 

reminder of the greatness of Roy Orbison 

and his influence, which reverberates to this 

day. They also are a reminder of the versatility 

of the Nashville musicians, who moved easily 

from day-to-day country sessions to making 

seminal rock recordings with Orbison which 

inspired the genre’s greatest stars. n 



Blind Boys of Alabama 

Take the High Road 

Real World 

Founded in 1939, Blind Boys of Alabama 

are one of the longest running traditional 

African American gospel vocal groups. 

They have become much more visible in 

the past decade, through recording for Peter 

Gabriel’s Real World label, constant touring, 

and appearing as guest artists on various 

records. Their latest project, Take The High 

Road, successfully fuses their passionate call 

and response vocal style with the country 

and blues elements of southern gospel music. 

The title track opens the album with 

the lone voice of Jimmy Carter, one of the 

original Blind Boys, testifying passionately. 

Sounding right at home, the still mighty Oak 

Ridge Boys arrive a capella at the top of the 

chorus, and when the band comes in playing 

a funky backwoods groove, it feels as if you 

have stumbled on a revival in full swing. 

Other highlights include “I Was A 

Burden” with Lee Ann Womack, (written 

by Danny Flowers), Willie Nelson’s chestnut 

“Family Bible,” and Hank Williams Jr. 

singing a swampy, barrelhouse version of 

Hank Sr.’s “I Saw The Light.” Co-producer 

Johnson’s guest vocal turn is understated 

but intense, and his influence can be felt 

throughout the record’s spontaneous live feel. 

The guest vocalists are an impressive array 

of country stars who more than live up to their 

reputations, but unlike many collaborative 

“concept” projects, the entire record sounds 

unforced and rings with true passion and fire. 

At no time are The Blind Boys 

overshadowed by their guests, and the 

excellent production by Jamey Johnson, 

Chris Goldsmith, Kevin Grantt, and 

Chad Cromwell ensures that the tracks 

without guests are just as exciting as the 

star turns. The versatile, tasteful musical 

backing and spacious mix allows plenty 

of room for the vocals to stand out. 

Cromwell’s subtle but powerful drums 

and Grantt’s funky bass lines perfectly 

complement the songs, as do the contributions 

of all the outstanding musicians on the 

project, including Reggie Young, Glen 

Duncan, Jim Brown, Mickey Raphael, 

Eddie Long, and Randy Kohrs, whose song 

“Give Me A Drink” is a rousing highlight 

of the album with guest vocalist Vince Gill. 

The original gospel songs carry the same 

weight as the traditional tunes, making for 

a great listen from top to bottom. Hats off 

to everyone involved for creating a modern 

country gospel classic without compromise. 

— Roy Montana 

Dolly Parton 

Better Day 

Dolly Parton Records 

With the June release of Better Day, Dolly 

Parton powerfully showcases her skill as a 

songwriter, revealing again that her overwhelming 

stardom as a performer sometimes 

overshadows that depth. This record is one 

she wears on her sleeve. 

From the first note of the first track “In 

The Meantime,” the listener is pulled away 

from the mundane, and into a world full of 

hope and belief that life can get better. This 

is a record in which message trumps all. The 

band is exceptional, and includes guest appearances 

by Emmylou Harris and Alison 

Krauss, among others. 

And, there is a brightness to the sound, 

anchored by Dolly’s voice, that shines 

throughout, walking hand in hand with her 

promise of joy. Better Day was produced by 

band leader and guitarist Kent Wells, who 

also contributes a notable and powerful vocal 

performance with Dolly on “Holding Everything.” 

Her Mighty Fine Band members include 

Paul Hollowell on piano, Steve Turner 

on drums, Steve Mackey on bass and Jimmy 

Mattingly on fiddle and mandolin. 

But, the real heart of this record is the 


lyric. She wrote the 12 songs here, including 

one co-written with Mac Davis, and her 

message is potent and simple, as found in the 

first song: In the meantime, in between time 

/ Let us make time to make amends / Live 

the good life, just treat this planet right / and 

try to all be friends. 

“Better Day” showcases Dolly’s versatility 

— she’s as comfortable delivering country 

blues and soul as she is a pop anthem. And 

here she highlights the theme: All that’s blue 

ain’t sky and sea / some of that blue’s bound 

to get on me / But the blues don’t come to 

stay / They’ll move away on a better day. 

The upbeat single “Together You And I,” 

buoyantly confirms her faith in love. Even 

the humorous “Country Is As Country 

Does” carries a hopeful, self-reliant message, 

and features some scorching steel guitar by 

Lloyd Green and the signature piano of Pig 

Robbins. 

Each song is infused with Parton’s brighteyed 

love for the world. “That feeling I have 

— I never meet a stranger,” she said recently. 

“They are somebody I’m excited to see. New 

stories. New feelings and new thoughts.” 

With Better Day, Dolly has shared that 

joy. It’s that simple, really. 

— Warren Denney 

Brad Paisley 

This Is Country Music 

Sony Nashville 

Brad Paisley has carved out a unique niche 

in contemporary country music. Combining 

humor, sincerity, and guitar chops in equal 

parts into his music, Paisley cannot be accused 

of taking himself too seriously, as can 

so easily happen to those who are blessed 

with mega-success. 

His latest record, This Is Country Music, is 

packed with cameos and guest stars, but he 

and longtime producer Frank Rogers are able 

to accommodate all these potential distractions 

and keep things focused on the songs 

23

Reviews cont. 

Tommy Shaw 

The Great Divide 

Pazzo Music/Fontana 

John Oates 

Mississippi Mile 

PS Records/Warner Bros. Nashville 

Since the recording scene in Nashville began to 

take off in the 1950s, Music City, as it came 

to be known, has had a magnetic effect on 

singers and songwriters from around the world. 

We pride ourselves on our musical diversity, and 

there are countless musicians in Nashville who can 

go from one end of the musical spectrum to the other 

in a single recording session or a live performance. 

For those who want to make a “Nashville” album, 

there are any number of musical directions to 

choose, and no shortage of great producers, studios, 

cowriters and collaborators from which to pick. 

The latest Nashville recording projects from 

Tommy Shaw and John Oates are two interesting 

cases in point. Shaw, a veteran rocker best known 

from the bands Styx and Damn Yankees, and Oates, 

half of the hugely successful pop and R&B duo Hall and Oates, have both made 

intriguing records that defy expectations and carve out a new artistic identity for each. 

Shaw’s The Great Divide, recorded at Sound Emporium, and coproduced by Brad 

Davis, features many of Nashville’s top bluegrass instrumentalists including Stuart 

Duncan (fiddle), Sam Bush (mandolin), Rob Ickes, Jerry Douglas (dobro) and Byron 

House (bass). 

The somber mood set by the black and white cover art is broken right off the bat 

with the opening track, a non stop up-tempo romp, “The Next Right Thing,” with a 

stratospheric harmony vocal by Dwight Yoakum and blistering playing by all concerned, 

including Chris Brown and Scott Vestal on drums and banjo respectively. 

Shaw more than holds his own on guitar, and his voice has the range and clarity to 

fit the bluegrass genre. His storytelling style of songwriting works well in this context, 

with plenty of down home imagery. The title track is a sweet old time waltz that features 

Alison Krauss on backing vocals, and “Hats Off To Harry” is a hilarious tribute to Harry 

Truman. The closing track, “I’ll Be Coming Home” is one of the strongest songs on the 

record, and features a passionate vocal by Shaw and some excellent playing by Duncan 

and House. 

Oates, now a member of Local 257, produced Mississippi Mile with Mike Henderson 

at EMI studios and Chris Latham engineering. The record explores both his early R&B 

influences and the darker, swampier side of his musical personality. Original tunes 

like the title track and “Deep River” are based on down-and-dirty grooves and bluesy 

melodies that give Oates’s gritty and expressive voice room to roam. 

Oates makes the most of his musical freedom and uses a wide range of vocal dynamics 

and textures. A couple of straight blues tunes written with Henderson, who plays great 

guitar all over the record, are authentically stripped down to great effect. Players on 

the album include Pete Huttlinger (guitar), Kevin McKendree (keys) Dennis Crouch, 

Michael Rhodes (bass) and John Gardner (drums), and in common with Shaw’s album, 

Sam Bush and Jerry Douglas. 

Oates also mixes straight ahead covers of classics like “It’s All Right” and “Please Send 

Me Someone To Love” with a very funky re-working of “All Shook Up,” which sounds 

a bit like Prince fronting Little Feat. A swing version of the Hall & Oates smash “You 

Make My Dreams Come True” is an unexpected pleasure, and the journey ends with the 

folkish “Dance Hall Girls, ” a bittersweet ode to a simpler time and place. 

Both these albums stand as great examples of the versatility of Local 257’s musicians 

and their ability to help any artist create their own version of the Nashville Sound. 

— Dave Pomeroy 

themselves, as great country music should. 

Ultimately, Paisley’s ability to veer from one 

side of the stylistic road to the other while 

retaining his blue collar identity gives him a 

lot of room to move and he pulls it off in 

honest, likeable fashion. 

Most of the tunes on the album are written 

by Paisley with various co-writers, and 

continue his trademark of simple “why didn’t 

I think of that” hooks with a musical mix of 

traditional country and a few modern flourishes. 

The title track stakes out the album 

concept immediately by explaining exactly 

what makes country music, its practitioners, 

and fans unique. The tune starts out soft, and 

then kicks into a Waylon-esque groove that 

punctuates many of the songs on the album. 

“Old Alabama” liberally references several 

records made famous by country superstar 

group Alabama, and the appearance of Randy 

Owen, Jeff Cook, and Teddy Gentry on 

vocals turns it into a cool trip down memory 

lane. Serious tunes like “A Man Don’t Have 

To Die” and “One of Those Lives” balance 

out the more lighthearted numbers such as 

“Camouflage” and “Toothbrush.” 

The core band of Ben Sesar (drums) Justin 

Williamson (fiddle), Randle Currie (steel 

guitar) Kevin Grantt (bass) and Jim Brown 

(keyboards) adeptly follow Paisley wherever 

he chooses to go, and capture that true “band” 

feel that is critical to making the various musical 

styles work. Paisley’s Ray Flacke-meets- 

Mark Knopfler guitar style is upfront and in 

your face throughout the record, yet avoids 

guitar hero clichés by staying within the confines 

of the song and sharing the spotlight 

with the rest of the band. 

Duets with Carrie Underwood, “Remind 

Me”, Blake Shelton, “Don’t Drink the Water,” 

and “Love Her Like She’s Leavin,’” featuring 

Don Henley on backing vocals, are 

solid tunes that work well within the concept 

of the record. 

“Eastwood” (as in Clint), written by Paisley 

with guitarist Robert Arthur and banjoist 

Kendal Marcy, continues his tradition of 

recording instrumental tunes and puts the 

western back in country with a huge, cinematic 

spaghetti western arrangement, featuring 

Eastwood himself on Sergio Leone 

style whistling. 

The album closes with a soulful acoustic 

version of the traditional gospel standard 

“Life’s Railway To Heaven,” featuring Marty 

Stuart, Sheryl Crow and Carl Jackson, bringing 

it all back home to the roots of country 

music. 

This Is Country Music is exactly that. 

— Roy Montana 



NASHVILLE 

TO NEWPORT 

How a gig canceled 

because of a riot led to 

a historic recording 

By Daryl Sanders 

It was one of the wildest gigs that 

never happened, complete with planes, 

trains, buses, a riot, armed guards, and 

an impromptu recording session on the 

back porch of a mansion on the Fourth 

of July. All that and more happened 

when a group of musicians billed as The 

Nashville All-Stars got an invitation to 

perform at the 1960 Newport Jazz Festival. 

The group featured some of the most 

celebrated musicians in the history of 

Music City: guitarists Chet Atkins and 

Hank Garland, bassist Bob Moore, 

drummer Buddy Harman, saxophonist 

Boots Randolph, pianist Floyd Cramer 

and pianist/violinist Brenton Banks, all of 

whom were members of AFM Local 257; 

plus teenage vibes sensation Gary Burton. 

Festival impresario George Wein invited 

the group to perform at the prestigious event 

after seeing them perform at The Carousel 

Club one night in mid-June of that year. 

Contrary to what you might think, Nashville 

was a jazz town before it was a country town. 

And even after country became the dominant 

genre, there was always a jazz scene in the city 

swinging away beneath country’s long shadow. 

In the late ’50s and early ’60s, ground 

zero for local jazzers was Jimmy Hyde’s 

The Carousel Club downtown in Printer’s 

Alley where guitarist Garland 

held court several 

nights a week, 

along with bassist Moore and 

others, depending on who was available. 

At the invitation of Garland, Burton 

was spending the summer in Nashville 

before heading to Berklee College of 

Music in the fall. The guitarist had been 

looking for a vibraphonist to play on an 

upcoming album and was introduced to 

the teen prodigy by sax man Randolph. 

“I was 17 years old that year, just out 

of high school,” the jazz legend recalled 

recently. “In fact, when I met Hank, I was 

still in high school. And he said, ‘What 

are your plans?’ I said, ‘Well, in a couple of 

months, I’ll finish high school, and then 

I’m going to go to college in the fall.’ That 

was when he said, ‘Why don’t you come 

and spend the summer here, and we’ll 

play this club and we’ll make this record.’ 

“Of course, that already was a great 

invitation to me, but it turned out to be even 

more than that. I made more than one record 

and met all these great musicians, and even 

made the trip to Newport and New York 

with Hank. It was an amazing experience 

for a 17-year-old kid from Princeton, Ind. 

I still remember it pretty vividly because 

it was such an amazing experience.” 

In the original liner notes for the live album 

the group recorded on the trip, After the Riot 

at Newport, Wein recalled that “Bob Yorke, 

Ben Rossner and Steve Sholes of RCA Victor 

invited me to Nashville to hear a jam session.” 

Atkins, who was head of RCA’s 

Nashville office, accompanied the other 

label executives and Wein to The Carousel 

Club and the “jam session” they witnessed 

featured a trio of Garland, Moore and 

Burton. “He was impressed by our little 

group, and on the spot invited us to come 

to Newport the following month to play on 


1 

Flashback 

2 3 

Photos of The Nashville All-Stars on the Fourth 

of July, 1960, in Newport: 1. Seventeen-yearold 

vibes sensation Gary Burton having fun 

working the mallets. 2. Bob Moore (left) and 

Buddy Harman (right) accompany Chet Atkins. 

3. (L-R) Hank Garland, Bob Moore, Boots 

Randolph, Buddy Harman and Brenton Banks 

work out on “Relaxin’.” 

the festival,” Burton recalled of that night. 

With Atkins acting as ringmaster, 

four more session musicians were chosen 

to accompany the trio to the festival. 

“Brenton Banks ... was probably the only 

player who fancied himself a jazz musician, 

other than Hank and myself,” the vibist 

said. “So we were a bit of a strange group.” 

Because of their busy schedules, the 

musicians did not travel en masse to Newport. 

On Saturday, July 2, Garland and Burton 

flew together into Providence, R.I., where 

they were met and driven by car to Newport. 

Moore made the trip with Banks on the same 

day. “We left Nashville on an airplane and 

flew to New York, then we took a train from 

New York to Providence, R.I., and then we 

took a bus over to Newport,” the legendary 

bassist said during a recent interview. 

But the long trip to Newport was the 

least of their worries, as Moore found out 

immediately upon their arrival. “I had my 

bass with me and as I stepped down off the 

bus, a full beer can, unopened, went right by 

my head and hit the side of the bus,” he said. 

“The police grabbed us, guarding us, and they 

walked us into a little house — it was not 

like a normal bus station, it was a small thing. 

We stayed in there awhile while they were 

settling the crowd down — or trying to.” 

As they would later learn, Moore and 

Banks had disembarked the bus smack 

in the middle of a riot that had broken 

out at the festival when more than 10,000 

people, many of them intoxicated, were 

denied access to the sold-out event. 

Garland and Burton were taken directly to 

their lodgings when they got to Newport, so 

they didn’t immediately realize there was any 

25

Calling 

for AFM 

Member 

Recordings! 

 

 

 

 

 

HELP IS AVAILABLE 

AT EVERY STEP! 

 

 

 

 

 

 

kind of problem. “We were booked into a bed 

and breakfast place, and after dropping our 

bags in our rooms, set out for Freebody Park 

to catch some of the performances of that 

night’s festival program,” the vibraphonist 

said. “However, we only had walked a 

couple of blocks before we noticed strange 

things — broken bottles littering the street, 

damaged cars, fences knocked down, etc. 

“Then suddenly, we were caught between 

two groups — a drunken mob throwing 

bottles and rocks on one side and a wall 

of state police advancing from the other 

side. When the cops got to us, they took 

one look at us and realized we were a bunch 

of country bumpkins and not part of the 

mob. They told us to get lost and get back to 

our hotel and stay 

there. So we did. 

All through the 

night you could 

hear yelling and 

breaking sounds.” 

The following 

morning The 

Nashville All- 

Stars learned the 

festival had been 

canceled because 

of the riot the day 

before. And on top 

of that, they were 

stuck in Newport 

until after the holiday because there was 

no major bridge access to the city in 

those days and the St. James ferry was 

the main route off Aquidneck Island. 

Wein had arranged for RCA to record 

the entire festival for possible future record 

releases, so they had a remote recording 

truck and crew in Newport. “By Sunday, 

someone had come up with the idea of 

bringing the recording facilities over to 

a large house where the RCA executives 

were staying and make a record,” Burton 

said. “The feeling was, we have all this gear 

here, and these musicians, and nothing is 

getting done. So, let’s record the band.” 

So, on the Fourth of July, the musicians 

set up their gear on the back porch of the 

house and recorded a live set before invited 

neighbors and a few other people which 

would be released with the title, After The 

Riot At Newport. Using multiple lineups, 

they performed seven numbers — including 

a pair of jazz standards, Thelonius Monk’s 

“‘Round Midnight” and Horace Silver’s 

“Opus De Funk” — which demonstrated 

that the Nashville cats had jazz chops. 

“One of the surprises to me when I came 

down to Nashville that summer was how 

many of the country guys were jazz fans, 

first of all, and had a lot of respect for jazz 

musicians, and then quite a few of them in 

“Then suddenly, we 

were caught between 

two groups — a 

drunken mob throwing 

bottles and rocks on 

one side and a wall of 

state police advancing 

from the other side.” 

— Gary Burton 

fact, tried their hand at it, in little sessions 

here and there,” the vibraphonist said. “There 

wasn’t much in the way of jazz gigs available, 

but in one way or another, quite a few of 

them had tried their hand at it. So, that was 

unexpected for me. I really didn’t expect any 

kind of jazz presence when I went down.” 

Of the eight members of The 

Nashville All-Stars, the rhythm section 

of Moore and Harman were the only 

players to appear on all the numbers. 

Atkins and Cramer were the least 

involved in the recording, appearing 

on two and three songs respectively. 

“Chet didn’t really want to be on much,” 

Burton explained. “He was just there really 

for the fun of being part of it and never 

really saw himself as 

a jazz player. So he 

wanted his role to 

be kind of minimal.” 

Atkins did supply 

one of the numbers, 

“Nashville to Newport,” 

which was built around 

a 12-bar blues riff and 

featured some standout 

soloing by Burton, 

Atkins, Randolph and 

Cramer on top of the 

swinging rhythm laid 

down by Garland, 

Moore and Harman. 

As a result of the stress of the riot, 

nonstop partying and lack of preparation, 

Moore said the recording doesn’t represent 

the musicians’ best effort. “We were not 

planning to make a record when we went up 

there, so it came together at the last minute.” 

Burton echoed that. “We played, mostly 

unrehearsed, we hadn’t even prepared much 

for our intended festival performance,” he 

said. “So what is on the record is essentially 

a jam session of pieces we all knew or 

could put together in a few minutes time.” 

Garland and Randolph did improvise 

one song, “Riot-Chous” literally on the spot, 

as the sax man recalled in an interview for 

the Bear Family Records reissue of the live 

recording. “Hank and I — we were sitting 

there playin’ and jammin’ a little bit,” he said. 

“There was some kind of little riff (in another 

song) that we just put into a 12-bar thing 

and played it and it kind of stuck with us. 

What it did was get us into a tempo where 

it really made it difficult. You had to play 

your ass off to stay in tempo. So these guys 

jumped in and we had a lot of fun on it.” 

Describing the playing on the record as 

“inconsistent,” Burton added, “But the spirit 

of the occasion was strong and everybody 

was having a good time. I can tell you if 

we hadn’t done that project, the whole trip 

would have felt like a great waste of time.” n 

For more info reach us at 

WWW.GOPROTUNES.COM 

GOPROTUNES.COM 

Call us at 1-800-762-3444 ext 238 during 

normal business hours EST 



By Laura Ross 

Where does the time go? As this 

issue goes to press, the Nashville 

Symphony will be completing its 

sixty-fifth season. 

Many of our constituent orchestras 

around the country are facing great 

difficulties – reminiscent of the late 1980s – 

as orchestras like the Philadelphia Orchestra 

join our neighbor three hours up the road, 

the Louisville Orchestra, in Chapter 11 

bankruptcy. Others like the New Mexico 

and Syracuse Symphonies have shut their 

doors completely and their musicians are 

scrambling to start anew. Meanwhile, the 

Honolulu Symphony, now the Hawaii 

Symphony, is starting fresh with a new board 

and leadership. 

Sadly, these bankruptcies are not the fault 

of the musicians but are due to a combination 

of very bad leadership and business decisions 

by their boards and managers, plus a 

financial crisis that led to more bad choices. 

Bankruptcy was not the only option, but 

these “trustees” of public institutions — and 

I use that term loosely — have thrown in 

the towel rather than work to find lasting 

solutions such as identifying new income 

and contribution options. 

Then there was the unnecessary six-month 

Detroit Symphony strike and continuing 

fallout from DSO board and management 

actions. During the strike the entire 

percussion section found other employment; 

the second flute will be joining the faculty 

this fall at Vanderbilt University, and at the 

end of May DSO concertmaster of 23 years, 

Emmanuelle Boisvert, announced she would 

be joining the Dallas Symphony as associate 

concertmaster. 

Although this is a step down from her 

title in Detroit, her reason for departing 

makes perfect sense; in her press statement 

she “marveled at [the Dallas Symphony] 

organization’s commitment to classical music, 

the intrinsic respect offered to musicians 

by the administration and esteemed music 

director, Jaap van Zweden, and the emphasis 

they place on communication and teamwork 

at all levels.” 

Sadly, the DSO didn’t get the message 

— to dig the knife in further, after all the 

anger and animosity caused by the strike, the 

Detroit Symphony board recently announced 

they have extended executive director Anne 

Parson’s contract for three more years. Talk 

about adding insult to injury; rather than 

trying to heal the rift they made it worse! 

This is not responsible management and 

oversight. These are the most shameful 

public trust caretakers I’ve ever seen and it 

breaks my heart. 

Sadder still, the Nashville Symphony is 

held up by some of these other symphony 

managers as the shining example of orchestra 

recovery following bankruptcy — without 

qualifying the length of time it took us to 

recover and improve our situation, 23 years 

and counting. Additionally, our recovery 

was due to new visionary managers and 

energized, supportive board members. Our 

achievements especially these past 10 years 

are due to an executive and staff, along with 

a board, that love and care for our orchestra. 

They have worked harder than ever before 

but we are all — orchestra and community 

— richer for this success. 

2010-11 Season Reflections 

This season was a whirlwind of activity, but 

we are stronger for all we have been through. 

Displacement from our home continued last 

fall as we traveled from venue to venue around 

town, hoping our audiences would follow. 


Symphony Notes 

Our celebrated return to the Schermerhorn 

on New Year’s Eve with Itzhak Perlman was 

followed by a live national radio broadcast 

with Nicholas McGegan the next week. 

We continued to record CDs, but rather 

than studio sessions we have moved toward 

recording our live performances – the Michael 

Daugherty CD, that recently received three 

Grammy awards, was live. Our latest Naxos 

CD release of works by Joseph Schwantner 

included both session and live recordings. 

Due to increased live recordings, the 

Nashville Symphony is now in the process of 

forming their own recording label. 

Detroit Symphony music director Leonard 

Slatkin returned during the DSO strike and 

we took that opportunity to inform Nashville 

audiences about the DSO musicians’ plight 

while, at the same time, also thanking NSO 

management, staff, board, donors and the 

Nashville community for their support 

following the flood. 

We managed to dodge most of the cicadas 

this summer while performing outdoor 

summer concerts, and we have hired some 

wonderful new musicians to fill positions 

both vacant and newly added. 

There were two auditions and a lot of rain 

during both, but in the end our wonderful 

new principal oboist, James Button, joined 

us following our final classical series concerts 

of Mahler Symphony No. 2 “Resurrection.” 

Current principal percussion in the San 

Kathy Mattea is one of the guest artists who will perform with the NSO next season. 

27

Symphony Notes cont. 

Antonio Symphony, Trent Leasure, joins us 

as our new third percussionist in the fall as 

will our most recent addition, Hari Bernstein. 

Hari is a violist who will be substituting with 

The Cleveland Orchestra this summer. We 

look forward to welcoming Trent and Hari 

in September. 

Our final classical series also featured the 

debut of Giancarlo Guerrero’s new, handpicked 

concertmaster, Jun Iwasaki. Jun is 

currently concertmaster of the Oregon 

Symphony and will join us this fall. 

Thank you and a look at next season 

As I do every year, I must thank the 

many generous members of the Nashville 

Symphony who serve on the orchestra 

committee, board committees, audition 

committees, peer review committee, travel 

committee, insurance committee, and to 

all those who volunteered their time in 

so many other ways – many are thankless 

jobs but necessary nonetheless. Thanks to 

Julie Tanner and Glen Wanner who rotate 

off the orchestra committee and to Bruce 

Christensen and Judith Ablon who were reelected 

for another term; Joel Reist remains 

on the committee for another season and 

will be joined by Dan Lochrie and Hunter 

Sholar. 

We look forward to an interesting and 

exciting 2011-12 season that begins with a 

free concert on the Public Square, an idea 

I think stems from the post-flood concert 

we performed last season. This performance 

will be followed the next evening by our gala 

season opener with cellist YoYo Ma. 

Four concerts feature works which will be 

recorded for future CDs, including the world 

premieres of Bela Fleck’s Concerto for Banjo 

and Orchestra and Terry Riley’s Concerto 

for Electric Violin for Tracy Silverman to 

be performed in May 2012 in Nashville, 

Indiana and New York. There are terrific 

classical and pops guest artists next year and 

include, along with Bela and Tracy, Emanuel 

Ax, Cho-Liang Lin, Garrick Ohlsson, Jon 

Kimura Parker, Wynonna Judd, Marvin 

Hamlisch, Christopher Cross, Kathy Mattea, 

and Steve Wariner. 

A number of new works will premiere in 

Nashville (three world premiers), and other 

season highlights include: John Adams Dr. 

Atomic Symphony, Mahler Symphony No. 

4 featuring our new concertmaster Orff 

Carmina Burana, Copland Symphony No. 3, 

Stravinsky Petrushka, Ravel Daphnis et Chloé, 

Shostakovich Symphony No. 7 “Leningrad,” 

Franck Symphony in D minor and Bruckner 

Symphony No. 2. 

We will perform at Carnegie Hall along 

with the Alabama, Houston, New Jersey, 

Milwaukee and Edmonton (Canada) 

Symphonies during Spring for Music (S4M) 

2012. The Saturday, May 12 performance 

will feature three works: Percy Grainger’s 

The Warriors with Celeste and three pianos, 

Charles Ives’ Universe Symphony, which 

divides the NSO into seven orchestras 

with five conductors and includes 22 

percussionists, click tracks and a whole boat 

load of other bells and whistles; and Terry 

Riley’s Concerto for Electric Violin. 

The Ives will have only one Nashville 

performance; Rachmaninoff Symphonic 

Dances will replace Ives on the Classical 13 

Series and in Carmel, Ind. 

So, to get to Carnegie Hall, we’ll be 

practicing, count on it! 

Laura Ross is the Nashville Symphony Union 

Steward. You can reach her at lar2vln@ 

afm257.org. 



By Austin Bealmear 

The Jazz Journalists Association 

presented its 2011 Jazz Heroes 

Award to Nashville Jazz Workshop 

Directors Lori Mechem and Roger Spencer 

June 11. 

The national organization’s awards gala was 

held in New 

York City, and 

streamed to 

satellite parties 

across the 

country. Artists 

p e r f o r m i n g 

at the event 

included NEA 

jazz master 

Randy Weston, 

Wallace Roney, 

Gregory Porter, 

Jane Bunnett 

and Hilario 

JJA Jazz Heroes 

Lori Meacham (left) 

and Roger Spencer 

Duran. The award presentation to the NJW 

directors took place at the Nashville party 

at Rumour’s Wine Bar. The ceremony was 

also seen around the world via a live Internet 

video stream. 

The Jazz Journalists Association is a nonprofit 

organization of top jazz and music 

writers, editors, and publishers dedicated to 

the best in writing, education; and also public 

discussion about America’s signature art 

form. They describe their annual Jazz Heroes 

as “activists, advocates, altruists, aiders and 

abettors of jazz who have had significant 

impact in their local communities.” Founded 

in 1998 by Lori Mechem and Roger Spencer, 

the Nashville Jazz Workshop has become 

a major player in the cultural life of Music 

City, providing jazz education to musicians 

and the public, and a forum for continued 

creation in the jazz arts. 

The Jazz Awards gala raises funds for JJA 

educational efforts and activities aimed at 

developing new audiences for jazz. These 

include the eyeJAZZ video training program, 


audience enrichment programs at festivals 

and educational institutions, initiatives 

using social media to activate potential jazz 

audiences, establishment of online platforms 

for jazz journalists, and the planning of 

profession-wide conferences. 

For more information about the Awards 

program visit: www.jjajazzawards.org. 

Sun & Shield latest Don Aliquo CD 

The fifth solo release by Don Alliquo, 

Director of Jazz Studies at Middle Tennessee 

State University, is a New York based affair, 

featuring veteran jazz masters Rufus Reid 

on bass and Jim McNeely on piano with 

adventurous drummer Obed Calvaire. The 

album was recorded last year at Bennett 

Studios in Englewood, N.J., Tony Bennett’s 

own studio, managed by his son, where he 

and many contemporary jazz greats record. 

It was released this May on the Artist 

Collective Recording label, and features the 

quartet in a set of eight originals written 

mainly by Aliquo with a tune each by Reid 

and McNeely. 

The album showcases Aliquo’s signature 

dynamic tenor sax work, and debuts (on CD 

at least) his take on the art of jazz clarinet. 

Don’t look for any Dixieland here, Don 

keeps the clarinet in the progressive mode, 

which too few players have been willing to 

do since the advent of bebop. Check out 

“Redemption Blues” for an example of his 

harmonic ingenuity on the instrument. 

As for the sidemen, Reid and McNeely are 

as consistently brilliant as one might expect, 

but the extra-added attraction is the young 

Calvaire, whose spirited and creative playing 

is often a rhythmic catalyst 

for Aliquo. “This project was 

a thrill to record from the first 

note,” Alliquo said. “Having the 

opportunity to play with two of 

my musical heroes in Reid and 

McNeely and ‘musically sparring’ 

with the powerful Obed Calvaire 

is an experience I will never 

forget!” For more information, 

go to www.donaliquo.com. 

Jazz Legends Chick Corea 

and Sonny Rollins visit 

Nashville 

Two epic musical events will 

take place at the Schermerhorn 

Center later this year. On Aug. 

22, the latest installment of 

the definitive jazz/rock/fusion 

ensemble Return To Forever 

brings together core members 


Jazz & Blues Beat 

Chick Corea (keyboards), Stanley Clarke 

(bass) and Lenny White (drums); virtuoso 

electric violinist Jean-Luc Ponty and guitarist 

Frank Gambale from Chick’s famed Elektric 

Band. 

They’ll take a tour through RTF’s classic 

songbook, highlights from each member’s 

solo career and brand-new heavyweight 

material. With their bands of the early 1970s, 

both Ponty and Corea were pioneers in the 

jazz/rock/fusion movement that combined 

mind-blowing virtuoso jazz playing with the 

rhythm and intensity of rock ‘n’ roll. 

Adding to the fun is the front act, Zappa 

Plays Zappa, the music of Frank Zappa, 

played by his guitarist son Dweezil and a 

gang of rock progressives. 

Three weeks later, NEA Jazz Master, 

National Medal of Arts winner, and undisputed 

pioneer of modern tenor saxophone Sonny 

Rollins (shown below), performs Oct. 14. No 

one should miss this chance to see a living 

legend in his first Nashville appearance in 

nearly two decades. One of his albums is 

called Saxophone Colossus, and with good 

reason. His groundbreaking work on the 

tenor sax helped define the sound of jazz in 

the ‘50s and ‘60s. His work with Miles Davis 

and Max Roach and his own record projects 

created dozens of jazz classics. When he left 

the scene in 1960 to re-invent his playing 

by woodshedding solo on a New York river 

bridge, it became the most talked about 

mystery in jazz. At the age of 81, he remains 

the music’s most exacting, exhilarating and 

inspiring practitioner. 

Austin Bealmear is a member of AFM 257. He 

can be reached at austinbel@earthlink.net. 

29

Live Music 

Memphis Boys show 

a parade of hits 

By Roy Montana 

The legendary Memphis Boys lit 

up the newly renovated Franklin 

Theater June 25 with a show that 

demonstrated both their amazing musical 

legacy and the undeniable power of a great 

ensemble playing timeless tunes, the way 

they were meant to be played. 

As the house rhythm section for Chips 

Moman’s American Sound Studios in 

Memphis, Reggie Young (guitar) Bobby 

Wood (keyboards) Bobby Emmons (organ) 

and Gene Crisman (drums) played on 

Recommended 

If you want a seat, 

get there early for 

The Time Jumpers 

By Roy Montana 

Every Monday night at the Station Inn, 

the room is packed and swinging with 

the sound of Nashville’s premier 

Country and Western band, The 

Time Jumpers. This dazzling 11piece 

ensemble features some 

of Nashville ‘s finest players and 

singers. 

They have been holding court 

on Mondays for some time now, 

and the band just seems to keep 

reinventing itself and sounds 

better than ever. The triple fiddles 

of Joe Spivey, Kenny Sears and 

Larry Franklin trade impossibly 

hot licks with lead guitarists Andy 

At right, Reggie Young applauds along with 

the audience as Bobby Wood takes a bow. 

hundreds of classic pop and R&B records 

throughout the 1960s and early ’70s. After 

moving to Nashville in the ’70s, these great 

musicians continued to contribute as players 

and songwriters to some of the best records 

ever cut in Nashville, and their skills are as 

vital and soulful as ever. 

Augmented by iconic bassist David Hood 

of the Muscle Shoals rhythm section and a 

tight horn section led by Jim Horn, cellist 

Jenny Lynn Young, the Holiday Sisters (who 

were backup vocalists at American Studios 

back in the day), and a variety of guest 

vocalists, the sold-out house was treated to 

a hit parade like no other, performed by the 

players who made those records such a big 

part of our musical history. 

Master of ceremonies Keith Bilbrey did 

a great job of giving historical background 

on each player and song with his trademark 

enthusiasm and extensive knowledge of the 

R&B genre. 

The show started out with King Curtis’ 

“Memphis Soul Stew,” and within just a few 

bars, everyone in the place knew that they 

were in for a tasty musical treat. They were 

never disappointed as the show unfolded like 

a well-planned journey through time. Local 

257 member Gary Talley, an original member 

of the Box Tops, did a stellar job of singing 

“Cry Like A Baby,” and then augmented 

the Holiday Sisters on backup vocals. Billy 

Reiss and Vince Gill, with Ranger Doug 

Green holding down the rhythm guitar and 

stepping up to the mic for an occasional 

yodel. 

Adding their textures to the precise hornlike 

arrangements are Paul Franklin on steel 

guitar and Jeff Taylor on accordion, who 

are both world-class practitioners of their 

respective instruments. The rhythm section 

of Rick Vanaugh on drums and Dennis 

Crouch on bass swing like crazy and nail the 

ballads with equal authority. 

To top off all its instrumental prowess, 

Swan sang his huge hit “I Can Help” with 

the entire audience clapping along on the 

backbeat. 

Scat Springs sang some of the more 

hardcore R&B numbers like “Everlasting 

Love” and “Drift Away” perfectly, and Terry 

Mike Jeffrey pulled off the difficult job of 

singing hits by B.J. Thomas, Neil Diamond, 

and Elvis with sincerity and authenticity, 

uncannily matching the phrasing and tone 

of these very different singers. 

The production’s sound and lights, as well 

as the guest singers, were all top notch, but 

in the end, the power of the Memphis Boys 

lies in that special ensemble sound created 

by musicians who have known each other 

so well for so long that they play together 

with one heart and mind — and the energy 

of teenagers. 

To hear songs like “Son Of A Preacher 

Man,” “Suspicious Minds,” “Luckenbach, 

Texas,” and “Sweet Caroline,” performed 

by the musicians who helped make those 

records, was an unforgettable experience 

for all those in attendance. The star-studded 

audience included Chips Moman, Joe 

Guercio, Allen Reynolds, Wayne Carson, 

Glen D. Hardin, Scotty Moore, and many 

more contributors to the legacy of American 

Studios and the Memphis Boys. The Franklin 

Theater is a beautiful venue, and all in all, it 

was a night of great musical moments. 

And as they say, there was a lot of love in 

the room. n 

The Time Jumpers also have vocal power 

to spare. Dawn Sears sings with the classic 

sound of the great torch singers, but with a 

strong bluesy edge that is all her own. Lead 

vocals are shared by her husband Kenny, also 

the band’s laid back Master of Ceremonies, 

who sings in a distinctive resonant baritone. 

Green, Spivey, and Taylor all jump in with 

harmony vocals, as does one of the newest 

members, Vince Gill. He keeps a low profile 

onstage, trading guitar licks with Reiss and 

occasionally singing a tune. He brought 

d o w n the house recently with a new song, 

“Buttermilk John,” his tribute to 

the late, great Time Jumper steel 

guitarist John Hughey, who played 

for years with Conway Twitty and 

Gill himself. 

From fiery instrumentals to 

country shuffles, great songs and 

fantastic singing, this is an experience 

that can’t be found anywhere else, 

and is a great way to blow an out-oftowner’s 

mind. Remember that if you 

want a seat for the 9 p.m. show, you’d 

better get there early. n 



By Dennis Dreith 

(On May 23, RMA Nashville and Local 257 

hosted a reception presented by the AFM & 

AFTRA fund. Fund director Dennis Dreith 

spoke to our attendees about the fund and the 

new royalty streams available to recording 

musicians. He was kind enough to write an 

article for this month’s RMA corner. – Bruce 

Bouton, Recording Musicians Association 

Nashville chapter President.) 

The AFM & AFTRA Intellectual 

Property Rights Distribution Fund 

was technically established in the 

mid-’90s for the purpose of collecting 

and distributing royalties to non-featured 

performers, such as session musicians and 

background vocalists. However, it had for 

all practical purposes laid dormant until 

I took over as head of the Film Musicians 

Secondary Markets Fund in November 

of 1999, when I was also asked to assume 

the role of administrator for the AFM & 

AFTRA Fund. 

As my first official act as fund administrator 

I contacted Jo-Anne McGettrick and 

convinced her to leave her long-time job 

at Sony Music and come to work for me 

as manager of the AFM & AFTRA Fund. 

Thus began the fund with the two of us, 

plus some shared staff and services from the 

Film Musicians Secondary Markets Fund. 

We started with approximately $400,000 of 

royalties from the Audio Home Recording 

Act (AHRA) to distribute covering the 

period from 1994 through 1999. 

During the first 18 months we established 

a database to match performers and sound 

recordings, developed a computer system to 

track our data and process payments, and 

created a website, but had yet to actually 

make any distributions. 

At the time we began working on all these 

things, the AFM and AFTRA also had an 

agreement with CPRA/Geidankyo in Japan 

for the fund to receive payments for the rental 

of sound recordings in Japan, but no money 

had ever been exchanged. Likewise, AFM 


and AFTRA were included in the Digital 

Performance Rights in Sound Recordings 

Act of 1995 (DPRA) and Digital Millennium 

Copyright Act of 1998 (DMCA) but had 

received no payments pursuant to either 

legislation. Consequently, I traveled to Japan 

to renegotiate our agreement with CPRA/ 

Geidankyo and bring about the requisite 

payments, and also took the steps necessary 

to facilitate payments pursuant to the DPRA 

and DMCA. 

From our first distribution in 2001 of 

a few hundred thousand dollars to a little 

more than 3,000 performers, the fund has 

experienced remarkable growth. Last year’s 

collections totaled more than $14 million. 

With the increase in collections, the fund has 

also been able to make distributions to many 

sound recordings and as a result to vastly more 

performers. Our most recent distribution 

included nearly 5,000 sound recordings for 

musicians and more than 13,000 vocalist 

sound recordings with payments going 

to nearly 20,000 participants, including 

musicians, vocalists and beneficiaries. 

The fund has also greatly expanded its 

international base via agreements with 

Unfortunately, the 

United States has 

yet to enact a full 

performance right in 

sound recordings. 

numerous foreign collectives including those 

in Japan, the Netherlands, Germany, the 

United Kingdom, Portugal, Hungary, Brazil, 

and Spain, with several others in progress. 

Most of these agreements are reciprocal, 

meaning that these collectives will only pay 

us for the same rights in their countries as 

those we collect and pay performers on in 

the United States. 

While most countries (including the 

United States) pay royalties for private home 

copying — the AHRA in the United States 

— and several pay for webcasting and other 

digital subscription services — DPRA and 

DMCA in the U.S., these are not nearly as 

significant a revenue source as terrestrial 

broadcast, like traditional radio royalties. 

Unfortunately, the United States has yet 

to enact a full performance right in sound 

recordings, meaning that not only can we not 

collect these royalties in the United States, 

but that we cannot then collect them abroad. 

This is costing non-featured performers 

literally tens of millions of dollars annually 

in lost foreign royalties, not to mention the 


RMA Corner 

lost royalties to featured performers and 

recording companies. Not only will the 

enactment of a true terrestrial performance 

right in sound recordings radically increase 

our collections domestically, it will also 

enable us to collect the vast amounts of lost 

revenue internationally. 

Not all our foreign agreements are 

reciprocal, however. In Japan we are able to 

collect for the rental of CDs where there is a 

substantial CD rental market while no such 

market exists in the United States. We also 

have quite an interesting agreement with 

AIE, the Spanish collective, where they have 

a performance right for the musicians and 

singers who perform on the soundtrack for 

motion pictures and television films. This is a 

unique arrangement whereby any portion of a 

score that embodies either a sound recording 

or some underscore recorded in the United 

States generates a royalty payment. 

As one might imagine, this is among our 

more complex royalty agreements and has 

required us to actually establish a separate 

sub-fund to deal with the complexities of 

identifying all the possible United States 

elements of motion pictures and television 

films. While a large number of these films 

are United States produced, many of them 

are in fact foreign produced but contain 

some United States sound recordings that 

were licensed for use in the films or in other 

circumstances are foreign produced films, but 

with scores recorded in the United States, or 

a combination of these situations. 

Despite all the various foreign agreements, 

the bulk of our contributions are still 

generated domestically, with the largest 

segment resulting from the DMCA. The 

increases in contributions have not only made 

it affordable for us to utilize more staff and 

services from the Film Musicians Secondary 

Markets Fund (FMSMF), they have made it 

possible to also make significant increases in 

AFM & AFTRA Fund staff as well. 

We have grown from our staff of one in 

2000, to a staff that now includes in addition 

to Jo-Anne, three research associates, a 

controller, a staff accountant, a software 

development specialist and additional staff to 

work with the Spanish audiovisual royalties. 

In fact, we have grown so rapidly, that we 

have just been able to lease separate office 

space close to our present location which will 

enable us to literally double our staff while 

continuing to take advantage of limited 

shared staff and services from the FMSMF. 

For more information about the AFM 

& AFTRA Fund, and to see if there is any 

unclaimed money for you, please visit our 

website at www.raroyalties.org or contact Jo- 

Anne McGettrick at 818-755-7780. n 

31

Final Notes 

Jack Linneman 

1921-2011 

Lifetime member Jack Linneman, a 

resident of Goodlettsville, Tenn., 

passed away June 1, 2011. He was a 

member of Local 257 for almost 60 years, 

joining on June 23, 1951. 

Linneman was a multitalented musician 

and engineer who not only founded one 

of Nashville’s longest running recording 

facilities, Hilltop Studios, in 1963, but 

also entered the Guinness Book of World 

Records in the year 2000 as the “world’s 

fastest guitarist.” Linneman’s arrangement 

of “Greenback Dollar,” fingerpicked Mother 

Maybelle style and featuring four parts 

played simultaneously at breakneck speed, 

earned him the record with the resulting 

equation equaling 36 notes per second. 

Born on October 23, 1921, in Freeport, Ill., 

he lived in Sacramento, Calif., for a number 

of years before moving to Nashville in the 

late 1950s to play in Webb Pierce’s band. In 

addition to his guitar and dobro skills, he 

Jimmy Dale Woodard 

1936-2011 

Lifetime 257 member Jimmy Dale 

Woodard, age 75, died May 23, 2011, in West 

Palm Beach, Fla. Woodard, a keyboardist, 

was born March 15, 1936 in Portland, Tenn., 

to the late Harvey R. Woodard and the late 

Mrs. Sallie Estell Woodard. 

Woodard, who joined Local 257 May 

15, 1958, was formerly a member of Bill 

Harland Powell 

1931-2011 

Local 257 Lifetime member Harland Powell 

died May 28, 2011, in Blue Eye, Mo. 

Powell, a guitar and steel guitar player, 

was born April 6, 1931, in Cooper Texas. He 

joined the Nashville local in 1972, and over 

the course of his career he played with Tony 

Douglas, Boxcar Willie, and Sonny James, 

Jack Linneman working at one of his custom 

consoles during a session at Hilltop Studios. 

soon began working as an engineer at the 

Starday/King studio on Dickerson Road for 

producer Tommy Hill. 

Among the artists he recorded while at 

Starday were Cowboy Copas and Red Sovine. 

His fascination with recording equipment 

soon became a skill, and in addition to 

staying busy as an engineer and musician, he 

began building recording consoles, including 

the board in this picture. 

In 1963, he left Starday and founded 

Hilltop Studio on Due West Avenue in 

Madison, with assistance from his son Billy, 

who by his mid-teens was already performing 

on the Grand Ole Opry. Sitting on four acres 

of land 15 minutes north of Music Row, it 

was built from the ground up as a recording 

studio. 

Hilltop was immediately successful, and it 

continues to thrive over 45 years later. John 

Nicholson, who was hired by Jack in 1981 

and has owned Hilltop since 1994, credits 

Linneman’s influence on his career. “He 

hired me as an engineer knowing I had no 

experience, but a desire to learn. He taught 

me so much. I wouldn’t be in the music 

business if it wasn’t for Jack Linneman,” 

Nicholson said. 

Dave Pomeroy, president of Local 257, 

said “Jack Linneman made many lasting 

contributions, through his studio work as 

well as in his musical career. Our thoughts 

are with the Linneman family.” 

Linneman is survived by his daughter, 

Jackie Sellers, and his son, William “Billy” 

Linneman. n 

Anderson’s band. He moved to Florida thirty 

years ago, where he was very active with St. 

John’s Lutheran Church in Lake Park, Fla. 

He was preceded in death by his brother, 

Harold Woodard. Survivors include his wife, 

Christine, his three sons, Ronnie, Michael, 

and Jonathan; four grandchildren, two greatgrandchildren, 

and his sister, Linda Napier. 

Expressions of sympathy may be made to 

Hospice of Palm Beach County, 5300 East 

Ave., West Palm Beach, Fla., 33407.n 

and was also the regular steel guitarist for the 

Big D Jamboree, a Dallas, Texas radio show. 

Powell was preceded in death by his 

parents, Henry and Gracie Powell, and a 

son, Michael Powell. Powell is survived by 

his wife, Ramona; three daughters, Jennifer 

White, Kelly Bishop, and Candace Powell; 

and one son, Terry Powell. Services were 

held June 2 at Restland Wildwood Chapel 

in Blue Eye, Missouri. n 

Matthew Graham 

Williamson, Jr. 

1929-2011 

Matthew Graham Williamson, Jr., age 82 of 

Murfreesboro, died May 20, 2011. 

Williamson, a fiddle player, was the 

son of the late Matthew and Virda Jewell 

Williamson, Sr. He is also preceded in death 

by his sons, Terry Wayne Williamson and 

Danny Allen Williamson. 

Williamson was a past Grand Marshal at 

Uncle Dave Macon Days, and was known 

as a champion fiddle player. He was also a 

member of World Outreach Church. 

He is survived by his wife, Ann; sons, 

James Anthony Williamson, Thomas 

Williamson, and John David Williamson; 

daughters, Jane Forysth, Marilyn Davis, 

Vickie Williamson, Angie Gannon, Belinda 

Jones, Kandy Brashear, Rhonda Davis and 

Robbin Robison; 25 grandchildren and 17 

great-grandchildren. 

Funeral services were held Monday, May 

23 at Woodfin Memorial Chapel with Dr. 

George Jackson and Pastor Jim Wideman 

officiating, and burial at Evergreen 

Cemetery. 

Online condolences can be made at www. 

woodfinchapel.com. n 

Samuel Fulton 

1929-2011 

Lifetime Local 257 member Samuel “Big 

Sam” L. Fulton Sr., 90, of Evansville, Ind., 

passed away Wednesday, June 29, 2011 at 

VNA Charlier Hospice Center. 

He was the son of the late Richard and 

Ida Fulton, born Feb. 22, 1921, in Reed, Ky. 

Fulton was a WWII Army veteran, and was 

retired from Whirlpool Corporation. Fulton, 

a guitarist and singer, played in numerous 

bands for over 70 years, and was an avid 

waterfowl hunter. 

He was preceded in death by his son, 

Steven Fulton; and daughter, Janet Fulton 

Brown. He is survived by his wife of 70 years, 

Helen Fulton; sons, Sam Fulton Jr. of Mt. 

Vernon, Ind., Donald Fulton of Melbourne 

Beach, Fla., and Dan Fulton of Evansville, 

Ind., daughter, Kristi Fulton Hayden of 

Newburgh, 15 grandchildren, 27 greatgrandchildren, 

and 1 great-great-grandchild. 

Services were held July 2, 2011, at 

Alexander West Chapel with burial in 

Tupman Cemetery in Evansville. Memorial 

Contributions may be made to Helfrich 

Baptist Church, 1634 S. Helfrich Ave., 

Evansville, Ind., 47712, or VNA Charlier 

Hospice Center, 323 Metro Ave., Evansville, 

Ind., 47713. Condolences may be made 

online at AlexanderWestChapel.com. n 



New Members 

Roland Jabari Barber 

TBN 

942 Giant Oak Drive 

Nashville, TN 37217 

Cell-(615)-498-5335 

Kent Steven Burnside 

(Kent Burnside) 

BAS DRM GTR KEY PIA 

PO Box 120122 


Cell-(615)-430-0653 Hm- 

(615)-791-8476 

Kevin Dale Collier 

BAS GTR MDN 

905 Hospital Drive 

Madison, TN 37115-5011 

Cell-(615)-708-8916 

Jason Boone Daughdrill 

(Boone Daughdrill) 

DRM 

2828 Old Hickory Blvd. Apt. 

720 


Cell-(615)-598-0960 

William Thomas Daugherty 

(Thom Daugherty) 

GTR BJO BAS 

1183 Emerald Lakes Drive 

Pt. #205 

Greenwood, IN 46143 

Cell-(317)-225-8841 

Harry Frederick Ditzel 

FHN 

401 Strathmore Drive 

Franklin, TN 37064 

Hm-(845)-220-6536 

Christopher Quinlan French 

(Kit French) 

KEY SAX 

Steve Garrett 

GTR 

17105 Ambiance Way 


Cell-(615)-403-3521 

Brandon Godman 

FDL 

PO Box 149081 


Cell-(859)-391-9290 

Alexander S. Hargrave 

(Alex Hargrave) 

BAS 

In Memoriam 

The officers, staff and members of Local 257 extend our deepest sympathies to the 

families and friends of our members who have recently passed away. You are in our 

thoughts, hearts and prayers. 

Name Born Date Joined Died Life Member 

Sam Lee Fulton 2/21/1921 9/1/1992 6/29/2011 Yes 

Jack Linneman 10/23/1921 6/23/1951 6/1/2011 Yes 

Harland W. Powell 4/6/1931 1/3/1972 5/28/2011 Yes 

Matthew G. Williamson 4/4/1929 2/20/1979 5/20/2011 

Jimmy Dale Woodard 5/15/1936 5/15/1958 5/23/2011 Yes 


Steve John Hunter 

(Steve Hunter) 

GTR 

215a Cherokee Road 


Cell-(323)-632-3000 Hm- 

(615)-818-0730 

Paul Jefferson Jaqua 

(Paul Jefferson) 

GTR VOC 

6605 Chatsworth Place 


Cell-(615)-574-5246 Hm- 

(615)-352-5653 

Peter Lynn Jeffrey 

KEY PIA 

61 Northwood Drive 

McKenzie, TN 38201 

Cell-(615)-417-0131 Hm- 

(731)-352-0792 

Anthony Robert Lucido 

BAS GTR VOC 

PO Box 40123 


Cell-(615)-300-5018 

Frank James Macek 

BAS DRM GTR KEY PRG 

9528 West Cherokee Avenue 

Las Vegas, NV 89147 

Hm-(615)-834-3751 

Nathan Allen McFarland 

GTR 

Scott A Mulvahill 

VOC GTR BAS 

948 Norwalk Drive 


Hm-(832)-576-2001 

Paul C Nelson 

CEL COP 

1060 Ashmore Dr 


Cell-(615)-969-0033 

John Michael Nichols 

GTR 

205 Scotts Creek Trail 

Hermitage, TN 37076 

Cell-(818)-720-9025 

Randy Owen 

GTR VOC 

Tenn River Music .Inc 

Randy Owen Lane 

Ft Payne, AL 35967 

Wk-(256)-845-3936 

Michael J. Payne 

(Mike Payne) 

GTR 

3149 Langley Drive 


Cell-(615)-579-6453 

Kimberly Perry 

GTR VOC 

Reid Perry 

BAS VOC 

Neil Perry 

MDN VOC 

Donald M Poole 

PIA KEY 

18801 Brooker Creek Drive 

Odessa, FL 33556 

Cell-(813)-505-7673 Hm- 

(813)-920-0460 

Michael John Pozzebon 

(Pozz) 

ORG PIA KEY BAS GTR 

TBN TPT DGR 

6700 Cabot Drive, Apt. G-6 


Cell-(731)-267-6684 

Paul Bradley Ragland 

BAS PRC GTR DRM 

827 Wren Road 

Goodlettsville, TN 37072 

Cell-(931)-644-4071 

Michael Q. Rinne 

BAS 

2691 Fessey Court 


Cell-(615)-496-7312 

Chas Alan Sandford 

GTR 

1659 Guy Ferrell Road 


Cell-(615)-948-1214 

Anthony M Stankas 

(Anthony Pine) 

GTR BAS 

813 Douglas Avenue 


Cell-(724)-884-7013 

John Steven Stubblefield, Jr 

( Johnny Stubblefield) 

DRM 

Ed Toth 

DRM 

7310 Autumn Crossing Way 

Brentwood, TN 37027-8827 

Cell-(617)-947-8684 


Jacqueline E Trtan 

CEL 

PO Box 6132 

Springfield, MO 65801-6132 

Cell-(417)-234-6470 Hm- 

(417)-831-4029 

Sean N. Weaver 

GTR VOC HRM 

920 Woodmart Blvd. Apt 

S-21 


Cell-(615)-415-3086 

Reinstated 

Joe G Adcock 

Carl Richard Albrecht 

David B Angell 

Jeff Alan Armstrong 

Stephen Arnold 

Peter J. Barbeau 

Ken A Barken 

Kenneth Edwin Barnd 

David Anton Beigert 

Johnny Wayne Bellar 

Elena Tsitson Bennett 

Lauren Robin Burnette 

Steven M Byrom 

Edward L. Cain 

Joeie Dale Canaday, Jr 

Richard E Carpenter 

Jimmy Ronald Carter 

Christopher Coleman 

Thomas Luther Cooper, Jr 

William S Crain 

Mark Derek Crum 

Dennis Digby 

Stephen Drake 

Steven Robert Duncan 

Steven M Farris 

Denny Fast 

Michael Ray Ferguson 

Donald Emry Fishel 

Thomas Flint 

Michael Jared Followill 

Cameron Matthew Followill 

Steven Edward Forrest 

Pamela Rose Gadd 

Seth Daniel Gangwer 

Juan M Garcia 

John Garr 

Benjamin Lain Graves 

Isham A Harris, III 

John D Heinrich 

Steve B Herrman 

Owen T Hewitt, Jr 

Benita Marie Hill 

Steven Wayne Hines 

Paul D Hollowell 

Eric H Holt 

Noah Joseph Hungate 

James E Hurst 

Duff Clark Jackson 

Kenneth R Janson 

John F Johns 

Archie P Jordan 

Chris Mark Kent 

Donald W Kerce, Jr 

Tom Kirk 

Member Status 

James Frederick Knobloch 

Craig Dwayne Koons 

Gerald J Krahn 

Keith H Landry 

Jason Allen Lauver 

Terri Lee 

Todd Alexander London 

Jonathan Alan Long 

Charlie E Louvin, Jr 

Gary Lee Lunn 

John A Mattick 

Robin Floyd McCoury 

Roderick D McGaha 

Miles McPhereson 

Brian Duncan Miller 

Gerald Lee Miller 

Michael Derek Mixon 

Jeffrey Alan Mulvihill 

Ryan Oliver Murphey 

James T Nixon 

Michael J. Payne 

Andy Peake 

John Harold Pennell 

Charles F Phillips 

Stu Phillips 

Juan Antonio Portela 

Jack Houston Pruett, Jr 

Jack Earl Ritzman , III 

Pamela Rose 

Stephen D Sechler 

Hank Singer 

Douglas A Sisemore, Jr 

Wilbert L Smith 

Edward L Smoak, Jr 

Joseph Smyth, III 

Ward B Stout 

Robert Thames, III 

Brian Keith Thomas 

Tia Faye Thomason 

Timothy J Thompson 

Jacqueline E Trtan 

Gary Lee Tussing 

Michael C. Valeras 

Charles L Vaughan 

Darrin Lee Vincent 

Mingzhe Wang 

N Leon Watson, Jr 

Kevin S Welch 

Jake Willemain 

Edward J Wilson 

Application revoked 

Joshua Daniel Breedlove 

Resigned 

Stephan Ralph Dudash 

Rebecca K Oboyle 

Kate Taylor 

Expelled 

Jeremy Abshire 

Louis Caisse 

Bruce Hayes 

Jason H. Anderson 

Lucas Kieran Kane 

Peter A. King 

Blaine Sprouse 

Rick W. Wright 

33

Do Not Work For 

Top of the Offenders List 

Eric Legg (multiple unpaid contracts, pension) 

Positive Movement/Tommy Sims (unpaid 

contracts – CeCe Winans project) 

Terry K. Johnson/ 1720 Entertainment (unpaid 

contracts/unauthorized sales - Jamie O’Neal 

project) 

Revelator/Gregg Brown (bounced checks) 

River County Band/SVC Entertainment (unpaid 

demo conversion/pension) 

Accurate Strategies, Inc. (unpaid contracts) 

Adagio Music/Sam Ocampo (unpaid contract) 

Add A Player.com (pension) 

Travis Allen Productions (pension) 

Audio RX (unpaid pension) 

Wayd Battle/Shear Luck (unpaid contract) 

Big Three Entertainment (three unpaid contracts) 

Blue Canyon Music/G. Randolph Compton 

(pension) 

Bottled Lightning/Woody Bradshaw (unpaid 

contracts) 

Bull Rush/Cowboy Troy (unpaid demo upgrade) 

Casa Vega/Ray Vega (unpaid contracts) 

Cat Creek Publishing (unpaid contract) 

Century Music/Art Ward (unpaid contracts) 

Chez Musical/Sanchez Harley (unpaid contracts) 

Jimmy Collins (pension) 

Compass Productions - Alan Phillips and David 

Schneiderman (unpaid contracts) 

Conrheita Lee Flang/Chris Sevier (pension) 

Coyote Ugly/Jeff Myers (pension) 

Daddio Prod./Jim Pierce (unpaid contract) 

Data Aquisition Corp./Eric Prestidge (pension) 

Michael Davey Productions (unpaid pension) 

Derrin Heroldt (pension) 

Jessy Dixon Ministries (pension) 

Summer Dunaway (unpaid contract) 

Earthtone Pub./Roy English (unpaid contract) 

Earworks/Jeff Teague (unpaid contracts, pension) 

Ferguson Music (unpaid pension) 

FJH Enterprises (pension) 

Field Ent. Group/Joe Field (unpaid contract) 

First Tribe Media (pension) 

Jimmy Fohn Music (pension) 

Rebecca Frederick (pension) 

Golden Vine Prod. (unpaid contract) 

Goofy Footed (pension) 

Gospocentric (pension) 

Josh Gracin/Beautiful Monkey/JAB Country 

Tony Graham (pension) 

Jeffrey Green/Cahernzcole House (pension) 

Randy Hatchett (pension) 

Highland Music Publishing (pension) 

Greg Holland (unpaid contract) 

Tommy Holland (unpaid pension) 

Home Records/David Vowell (unpaid contracts) 

Honey Tree Prod. (pension) 

Hot Skillet/Lee Gibson (unpaid contract/sigs) 

Howard Music Group (pension) 

Engelbert Humperdinck (pension) 

Mark Hybner (unpaid contract) 

In Light Records/Rick Lloyd (pension) 

Kyle Jacobs (unpaid contract) 

Paul Jenkins (pension) 

Katana Prod./“Dada” Mills (unpaid contracts) 

Kenny Lamb (unpaid contracts) 

King Craft, Inc./Michael King (unpaid contracts) 

Ginger Lewis (unpaid contract) 

Little Red Hen Records/Arjana Olson (pension) 

Line Drive Music (unpaid contract) 

Lyrically Correct Music Group/Jeff Vice (unpaid 

contract) 

MC Productions/Mark Cheney (unpaid contract) 

MCK Publishing/Rusty Tabor (unpaid contract) 

Malaco (pension) 

Joseph McClelland (pension) 

Tim McDonald (pension) 

Mark McGuinn (unpaid contract) 

Marty McIntosh (unpaid contract) 

MDC Prod./Michael Clute (unpaid contract) 

Miss Ivy Records/Bekka Bramlett (unpaid 

upgrades) 

MS Ent./Michael Scott (unpaid contract) 

Matchbox Ent./Dwight Baker (unpaid contract) 

Pete Martinez (pension) 

Maverick Management Group (pension) 

Dean Miller (unpaid pension and contracts) 

Missionary Music (pension) 

Jason Morales (pension/demo signature) 

Morris Publishing Group (unpaid contracts) 

Multi-Media (unpaid contract) 

Joe Meyers (pension) 

MPCA Recordings/John Titta (unpaid contract) 

Jeff Nystrom/Ultrasound (unpaid contracts) 

O Street Mansion (pension) 

On The Green/Kevin Beamish (unpaid contracts) 

One Shot Management (unpaid contract) 

OTB Publishing (pension/demo signature) 

Anthony Paul Company (unpaid contract) 

Reach Ministries (pension) 

Quarterback/G Force Music (unpaid contracts) 

RLS Records/Ronald Stone (unpaid contract) 

Region One Records (unpaid contract) 

RichDor Music/Keith Brown (unpaid contract) 

Robbins Nashville (unpaid contract) 

Ronnie Palmer (pension) 

Round Robin/Jim Pierce (unpaid contract) 

Corey Roomey Ent. South (upaid pension) 

Roxanne Entertainment (unpaid contract) 

Rust Records/Michelle Metzger (unpaid 

contracts and pension) 

Shaunna Songs/Shaunna Bolton (unpaid 

contract) 

Shauna Lynn (unpaid contract) 

Shy Blakeman (unpaid contract) 

Singing Honey Tree (unpaid contract) 

Jason Singleton Productions (unpaid pension) 

Sleepy Town/David Lowe (unpaid contract) 

Small Time Productions, Inc./Randy Boudreaux 

(unpaid contract) 

Barry Preston Smith (pension) 

Song Garden Music Group(unpaid pension) 

Songwriters Collective (unpaid contract) 

Sound Kitchen (unpaid pension) 

Sound Resources Prod./Zach Runquist (unpaid 

contracts/pension) 

Spangle 3/Brien Fisher (unpaid contract/pension) 

Mark Spiro (unpaid contract) 

Steal Hearts Music, Inc. (pension) 

Sterling Production Mgmt/Traci Sterling Bishir 

(unpaid contracts/pension) 

Nathan Thompson (pension) 

Tin Ear (pension/demo signature) 

Tough Records/Greg Pearce (unpaid contract) 

Triumphant Quartet (pension) 

Adam Tucker (unpaid contract) 

Mike Ward Music (pension/demo signature) 

Roy Webb (pension) 

Write It Lefty/Billy Davis (pension) 

Michael Whalen (pension) 

We 3 Kings (unpaid contract) 

Eddie Wenrick (unpaid conract) 

Mike Willis Music (unpaid pension) 

YGT 40/Lawrence B. Gotliebs (pension) 

AFM Non-Signatory List 

Barry Smith (Demo) 

Com Source Media (limited pressing) 

Coyote Ugly/Jeff Myers (Demo) 

Danielle Lauderdale (Demo) 

Elite III Records (demo signature) 

FJH Enterprises (phono/limited pressing) 

Gene Evaro (demo signature) 

Generator Music (demo signature) 

Ginger Lewis (demo signature) 

Honey Tree Prod. (demo signature) 

Hope Productions (demo signature) 

Jeffrey Green/Cahernzcole House (limited 

pressing) 

Jessy Dixon Ministries (phono) 

Jimmy Collins (Demo) 

Jimmy Fohn Music (demo signature) 

Journey Records (limited pressing) 

Malaco (demo signature) 

Maverick Mgmt. Group (phono/demo signature) 

Nashville Midnight Oil (demo signature) 

Nathan Thompson (limited pressing) 

PSM (limited pressing) 

Randy Hatchett (demo signature) 

Rick Henry (limited pressing) 

Robert David Stacy (demo signature) 

Ronnie Palmer (demo signature) 

Stage 7 Prod./Jerry Medkiff (limited pressing) 

Triumphant Quartet (phono) 

Allianz (demo signature) 

Blue Desert Music Group (phono) 

Caribbean Country Management (demo 

signature) 

Chariscourt, Ltd. (phono) 

Conrheita Lee Flang/Chris Sevier (demo 

signature) 

Data Acquisition Corp./Eric Prestidge (demo 

signature) 

Engelbert Humperdinck (demo signature) 

First Tribe Media (phono) 

Heritage Records/Lew Curatolo (demo 

signature) 

Joe Meyers (phono) 

KJ Entertainment (limited pressing) 

Labeless Records/Coy Ray/RPB Prod. (phono) 

MS Ent./Michael Scott (limited pressing) 

Matachack James (limited pressing) 

Michael Sykes Productions (demo signature/ 

limited pressing) 

Peter Good (demo signature) 

Pitchmaster/Carroll Posey (demo signature) 

Quarterback/G Force Music (phono) 

Region One Records (limited pressing) 

Shy Blakeman (limited pressing) 

The Pitchmaster (demo signature) 

Title tunes (demo signature) 

Travis Allen Productions (limited pressing) 

Domination Records LLC (Limited Pressing) 

Kurt A..Koble (Limited Pressing) 

Point To Point LLC (limited pressing) 

Wade Spencer Ministries, Inc. (phono) 

Wowboy Music Group (demo signature) 

YTG 40/Lawrence B. Gottliebs (demo signature) 

Christopher Mortland (limited pressing) 

Cottageworks/Betsy Foster (limited pressing) 

44 West/Mike Welch (limited pressing) 

Francis X. Sullivan 

Jason Kerr Ministries - Don Goodman 

J. Carlos (limited pressing) 

Lance Productions (limited pressing) 

One G Productions (limited pressing) 

Peer Music (limited pressing) 

Roxanne Entertainment 

Taylor Productions (limited pressing) 

TBN, Paul Crouch (phono/video) 

Campfire Records 

Chapel Music Group 

MTL Limited 

Westwood One 

Worldwide Agency 


The Nashville Musician

A 

A 

A 

AUGUST EVENTS 

Celebrating our 25th year 

serving the Nashville Music 

Community 

with SPECIAL EVENTS EACH MONTH 

UNTIL 2012 

AUGUST 5th, 6th & 7th 

Music City Community 

Garage Sale 

THOUSANDS OF SQ. FT. & 25 YEARS WORTH OF NEW & VINTAGE 

INSTRUMENTS OF ALL KINDS - PIANOS, HAMMOND ORGANS & LESLIES, 

KEYBOARDS, E. PIANOS, RACKMOUNTS, GUITARS, AMPS, EFFECTS, CASES, 

COMPUTERS, SOFTWARE ...... 

Friday & Saturday 10-5 and Sunday 1-5 

For information on how to sell YOUR gear at our sale call 615.370.8800 

o RECORDING STUDIO PIANO TUNINGS AT 1986 PRICES 

o NORD BLOWOUT SALE - ALL MODELS 

o STORAGE LOCKERS - FIRST 2 MONTHS FREE 

o RHODES AND WURLITZER EP RENTALS - HALF PRICE 

o HAMMOND & LESLIE RENTALS - HALF PRICE 

EMAIL US AND WE 'LL KEEP YOU UPDATED ON SPECIALS AND

DOLLY PARTON - Nashville Musicians Association

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