REVIEWS: Alias • Jimmy Capps • Easton Corbin • Mike Daly • Time Jumpers • Marty Stuart

overcoming adversity

Interview
Eddie Adcock | Pete Huttlinger | Jimmy Nalls

Offici a l Journ a l of AFM Loc a l 257

Ja nua ry– M a rch 2013

Band without Boundaries

punch
Brothers

Jeff Coffin
Strikes Twice

January–March 2013 1
 purity ad for nashville musician 2012 r0.pdf 1 12/12/12 6:28 AM

Performing in
Music City since 1926.
The Nashville Musicians
Association would like to
thank Purity for their generous
donation of ice cream treats
for our 110th anniversary
party. The addition made our
celebration even sweeter!

PurityLovers.com

2 THE NASHVILLE MUSICIAN

 content
Official Journal of the Nashville Musicians Association, AFM Local 257 | January—March 2013

11
4 Announcements
Details on the next membership meeting scheduled for Feb. 26, past minutes and more.

6 State of the Local

President Dave Pomeroy discusses an extraordinary 2012 and the road ahead.

7 New Grooves
Secretary-Treasurer Craig Krampf focuses on Local 257 community outreach
and member education.

8 News
An amazing array of Local 257 award winners and honorees.

10 Heard on the Grapevine

The notable comings and goings of Nashville Musician Association members.

11

15
Gallery
Our 110th anniversary party, member milestones and more.

15 Cover story: Punch Brothers — Band Without Boundaries

Warren Denney has a ringside seat with members of the flourishing Punch Brothers
as they talk about their creative foundations, the road, and who they are.

19 Feature: When the Going Gets Tough, the Tough Keep Playing
Three indominable Local 257 members talk about rising to life’s challenges.

22 Reviews
Alias, Easton Corbin, Mike Daly, Marty Stuart, Jimmy Capps and
The Time Jumpers.

25 RMA Corner
A strong voice for the RMA is still required to ensure a great institution continues. Punch Brothers

26

28
Symphony Notes
An update on several symphonies around the country, a look back at last season Photo: Greg Kessler
and a preview of what’s upcoming for the NSO.

28 Jazz & Blues Beat

Two releases from Jeff Coffin: Mu’Tet live, and a duet record with Jeff Sipe.

29 Final Notes
We bid farewell to Willie Ackerman, Robert Binkley, Bill Carlisle, Coeburn
McDaniel, Farrell Morris, and Louis Nunley.

31 Member Status

32 Do Not Work For list

Cover Photo by Danny Clinch Jeff Coffin

January–March 2013 3
 Announcements
Next General Membership Meeting, Tuesday, February 26, 2013
The next local 257 general membership meeting will be Tuesday, Feb. 26 at 6 p.m.There are no by-
law proposals on the agenda, but there will be president and secretary-treasurer reports, an update
O ff i c i al Q u a r t e r l y jo u r nal of t h e
na s h v i ll e M u s i c i an s A s s o c i a t i on on new AFM initiatives and Local 257 business. A variety of important topics will be discussed.This
A F M L o c al 2 5 7
is a great way to get involved in the business of your local. Doors will open at 5:30 p.m.
Publisher Dave Pomeroy
EDITOR Craig Krampf Minutes of the Executive Board Meeting, July 9, 2012
managing editor Kathy Osborne
ASSISTANT EDITORS Leslie Barr
Kent Burnside Attending: President Dave Pomeroy, Secretary-Treasurer Craig Krampf, Andre Reiss
CONTRIBUTING WRITERS Austin Bealmear (AR), Laura Ross (LR), Jonathan Yudkin (JY), Jimmy Capps (JC), Tim Smith (TS) and
Roy Montana Tom Wild (TW). Not present: Duncan Mullins (DM).
Laura Ross
President Pomeroy called the meeting to order at 9:17 a.m.
Tom Wild
CONTRIBUTING PHOTOGRAPHERS Leslie Barr President’s Report
Donn Jones
Pomeroy reported on the following items:
Craig Krampf
Dave Pomeroy
1. Pomeroy thanked the board for approving the finances for his trip to Beijing, China
Brian Stowell to be a part of the AFM delegation, at the United Nation’s WIPO (World Intellectual
ART DIRECTION Lisa Dunn Design Property Organization) Conference. 140 countries participated. The goal at WIPO
WEB ADMINISTRATOR Kathy Osborne was to adopt an international treaty that would protect audio-visual rights, and a
Ad Sales The Horton Group treaty was adopted. The AFM has established a fund for monies due from audio-visual
615-292-8642
performances and the AFM’s presence at the conference served notice to those who
have been collecting our members’ rights money, but not forwarding it: No collection
Local 257 Officers without distribution.
President Dave Pomeroy 2. The local has collected $25,000, which is half the money owed our members by
Secretary/treasurer Craig Krampf Jimmy Adams. The Tommy Sims non-payment situation is going through the legal
executive board Jimmy Capps process and proceeding through the courts. So far, no money has been collected.
Duncan Mullins 3. Steve Tveit, new director of electronic media, is doing a great job. Many of our mem-
Andy Reiss bers have commented very positively about him and the great job that he is doing.
Laura Ross 4. A change has been made at The Nashville Musician magazine: Daryl Sanders is no longer
Tim Smith the associate publisher. We will be interviewing several new candidates for the position.
Tom Wild
Jonathan Yudkin LR inquired about how many email addresses we have for the members that usually
come to the meetings. Krampf responded that he will check, but has a feeling we do
hearing board Michelle Voan Capps have email addresses for the majority. She also asked if the local can publicize the AFM-
Tiger Fitzhugh
Teresa Hargrove
EPF’s website and encourage members to visit and get some of their pension questions
Bruce Radek answered there, and to remind people about the pension estimator feature.
Kathy Shepard
John Terrence
Secretary’s Report
Ray Von Rotz MSC: (AR, JY) to approve the minutes of Jan. 27, 2012.
Trustees Ron Keller Treasurer’s Report
Biff Watson Copies of the financial statements were distributed. Krampf explained the report. MSC: (TS,
SErgeant-At-Arms Chuck Bradley
LR) to approve the financial report.

Nashville Symphony steward Laura Ross Work Dues Report

LR had prepared a work dues financial report for the year 2011. LR guided the board through
Office Manager Anita Winstead the figures. A discussion took place.
Krampf gave a short report about the AFM Southern Conference, which was held in New
Electronic Media Services
Orleans this past June.
Director Steve Tveit
assistant Teri Barnett MSC: (LR, TW) to accept new members.
data entry Rachel Smith
recording dept. assistant Kelly Spears MSC: (JC, TW) to adjourn meeting. Meeting adjourned at 10:16 a.m.
director, live/Touring Dept. Leslie Barr —Respectfully submitted by Craig Krampf
and Pension Administrator

Membership Coordinator & Rachel Mowl

Live Engagement/MPF Coordinator
Minutes of the General Membership Meeting, Sep. 10, 2012
Member Services/Reception Laura Birdwell Sam McClung, Larry Barnes, Mark Elting, Mark Johanson, Brian Goldberg, Beth Gottlieb, Judith
Ablon,Tom Kirk, Diana Burton, Chris Hamm, C.B. Melberg, Dave Martin, Chris Stout, Dave
Pomeroy, Craig Krampf, Rich Eckhardt, Ron Keller,Tiger Fitzhugh,Vince Barranco, Bill Poe,Teresa
@ 2013 Nashville Musicians Association
Hargrove and one member whose handwriting could not be deciphered.
P.O. Box 120399, Nashville TN 37212
All rights reserved. The meeting did not achieve a quorum and therefore no official business could be conducted.
nashvillemusicians.org President Pomeroy conducted an informal meeting. Pomeroy and Secretary-Treasurer Krampf gave
reports.Various discussions took place. Pomeroy thanked everyone in attendance for their support.
—Respectfully submitted by Craig Krampf

4 THE NASHVILLE MUSICIAN

 Announcements
Minutes of the General Membership Meeting, March 12, 2012
Attendees: John Terrence, Carl Thomason, Chuck Bradley, Thomas that is currently being collected and not being properly distributed.
Mayes, David Balph, Jim Corrigan, Glen Duncan, Dave Martin, Joel 6. The status of various lawsuits and judgements Local 257 has
Perry, Bobby Taylor, John Mock, Tony Farr, Craig Krampf, Jonathan filed and received against people owing our members large
Yudkin, Travis Wetzel, Sean Weaver, John Garr, Laura Ross, Mark T. sums of money: Les Rakes, Tommy Sims, Terry Johnson and
Jordan, Sam McClung, Andre Reiss, John McTigue, Jerry Vinett, Lance Jimmy Adams.
Martin, Donald Pickert, Mike Douchette, Phil Arnold, Tom Wild, Rod 7. Sony Video games, which recently scored in Nashville without
Ham, Shaun Balin, Lenny Round, Jason Howard, Luis Espaillat, Judy a union contract.
Rodman, John Rodman, Steve Fishell, John Darnell, Rich Eckhardt, 8. Discussed reactivating Local 257 committees aside from the Road
James Stealy, Cameron Roberts, Ernie Carlson, Gary Talley, Jay Brown, and Club Musicians Committee, which has been very active.
Rick Lonow, Danny Dunn, Ron Keller, Duncan Mullins, Ed Cook, 9. The H&W and AFM-EPF rates for all recording scales have been
Teresa Hargrove, Bruce Bouton, Jim “Moose” Brown, Linda Davis, standardized in an effort to simplify: H&W is $24 for the first
Stephan Sechler, Dave Pomeroy, John Terrence and Bruce Bouton. session of the day and $19 for second session of the same day.
President Pomeroy called the meeting to order at 6:09 p.m. EPF is 11.99 percent of scale wages.
Roll Call: President Pomeroy, Secretary-Treasurer Krampf. Execu-
tive Board: Laura Ross, Jonathan Yudkin, Tom Wild, Andre Reiss. Miscellaneous Wage Scale Bylaw Proposal: Copies of the
Hearing Board: John Terrence. Sergeant-At-Arms: Chuck Bradley. proposal had been distributed to all in attendance. Pomeroy read
Parliamentarian: Ron Keller a letter written by Kent Goodson, Chair of the Road and Club
Minutes of the Membership and Nomination Meetings of Nov. Musician Committee urging passage of the proposal. Pomeroy
7, 2011 were distributed. There were no objections or corrections. read through the proposal.
These minutes will appear in the next issue of The Nashville Musician.
**Please see the January-March 2012 issue of The Nashville Musician for the
Correspondence complete bylaw proposal.
Pomeroy read a letter that he received from AFM President Ray
Hair congratulating Local 257 on the new issue of the magazine Discussion followed. There were comments and suggestions
(January-March 2012). Hair said it was great, perhaps the best made by Chuck Bradley, Bruce Bouton, Theresa Hargrove, Marc
one yet, and something that all our members should be proud of. T. Jordan, Dave Martin, Rich Eckert, Laura Ross, Judy Rodman,
John Rodman, Linda Davis and Sam McClung.
The Treasurer’s Report Amendments were suggested and approved: Adding harmon-
Copies of the financial report were distributed; Krampf led the ica and six-string bass to the doubling category. MSC: Dave Martin
group through the various categories. MCS to accept the financial and Rich Eckert. Change mileage rate for over 150 miles to an ad-
report: Laura Ross and Mark T. Jordan. ditional 25 percent of rate for 150 miles and eliminate the language
“rate established by the IRS.” MSC: Laura Ross and Chuck Bradley.
President’s Report Pomeroy called for a vocal vote on the proposal as amended.
Pomeroy reported on the following: Proposal passed unanimously.
1. Personnel changes at the local. Janet Butler has retired and Laura Bird-
well is the new front desk person. Leslie Barr has been hired as the Other Business
Director of the Live and Touring Department and Steve Tveit has been Jerry Vinett asked for an explanation of the Funeral Benefit Fund.
hired as the new Director of Electronic Media Services. Pomeroy gave Krampf explained how the benefit works and how it is funded.
Juanita Copeland, who is leaving to pursue another business oppor- John Terrence inquired about the venue Two Old Hippies.
tunity, a special “thank you” for her wonderful service to our local. Pomeroy explained that a structure for wages has been worked out.
2. The AFM Booking Agency – a national booking agency — is being Pomeroy explained that the scale committee met several
set up and will be operational within a few months. Pomeroy urged times and also with representatives of the people who do the
all in attendance to spread the word and to utilize this new service. type of work of large groups on a session (over nine musicians),
3. Sound Recording Labor Agreement (SRLA – also known as and recommended the following changes to the limited pressing
“Phono”) negotiations have resulted in an agreement. Hair and scale, which is established by the local, not the Federation:
IEB members were united in their push for raises, which, pend- Reduce leader-contractor requirements from three tiers for the
ing ratification will occur over the next three years, as well as number of musicians — one to nine, 10 to 24, and 25 and over
developing new revenue streams. Wage increases will be two — to two tiers; one to 24, and 25 and over.
percent, one and one-half percent, and one percent. Premium scale for work on Saturday and Sunday will be
4. For the first time in many years, the AFM’s finances finished eliminated and will pay at the same rate as weekdays.
the year 2011 in the black. Downsizing personnel and moving For Choral Print Work (churches), 15 minutes of recorded music
the AFM West Coast Operations into the Los Angeles Local 47’s has been increased to 25 minutes and one song increased to 15
building has help cut expenses and contributed greatly to the minutes of music.
bottom line finishing in the black. Everyone involved is very pleased with these changes to the scale.
5. The AFM trip to Bejing, China to attend the WIPO (The World Intel- MSC to adjourn meeting: John Terrence and Jim “Moose”
lectual Property Organization) conference. Pomeroy is part of a six Brown.
person AFM delegation, led by Hair, who will attend in support of Meeting adjourned at 8:35 p.m.
the latest amendment to WIPO’s international rights treaty, estab-
lishing inalienable rights to those who perform on audio and visual —Respectfully submitted by Craig Krampf, Secretary-Treasurer
recordings. The AFM also hopes to establish relationships with col-
lectives from around the world with the intent of negotiating agree- Holiday Closings—AFM Local 257 will be closed for President's Day,
ments to receive performance rights money for American musicians Feb. 18, 2013, and Good Friday, Mar. 29, 2013.

January–March 2013 5
State of the Local
By Dave Pomeroy
By any definition, 2012 was an extraor- health and welfare payments, and pro-
dinary year for Nashville and Local 257. tection of our members’ work.
A quick look at this year’s Grammy nom-
inees speaks volumes about the world- Growing the local
wide recognition Local 257 members When Craig and I were elected in 2008,
have earned in every genre of music. our mission was to modernize Local 257
The recent Grammy nomination con- and give our members a stronger voice. all worked so hard to overcome their
cert at Bridgestone Arena eradicated any We identified problems to be fixed, physical challenges, and from their ex-
doubt about Music City’s ability to host a brought down expenses and brought ample, we can gain valuable perspective
worldwide live musical event spanning our local out of financial difficulties and on our own lives and learn a lot about
all genres of music, and it was a record- back into the black. The evolution of our the power of believing in ourselves. We
breaking year for TV and film work. outstanding staff has transformed the at- will always have challenges in front of
titude in the office and elevated the level us, but at Local 257 we are committed
Poised for the future of service we offer our members. to solving problems by working togeth-
This is an unprecedented time in our We reversed a long trend of declin- er. Collectively, we have much more
city’s history, and an incredible amount ing membership and have welcomed strength than we realize, and our job is
of energy and attention is focused in more than 500 new members into the to help you harness that power.
our direction by the outside world. fold, including many young musicians, Studies have shown that Nashville
Now, more than ever, the world is real- and former members who have returned already has the highest per capita of mu-
izing that Nashville really is Music City, as well. In the past couple of years, we sicians in the world, and there is still a
and the quality of musicianship here have successfully pursued many dead- steady stream of instrumentalists of all
has never been higher. Local 257 musi- beat employers and obtained payments types and success levels moving here.
cians can cover any musical style and and judgements that no one expected we The redevelopment of downtown and
situation presented to them with class, could win for our members. the new Music City Center have not only
efficiency and professionalism. changed the physical landscape of our
Our world-class Grammy-winning Building on solid foundations city, but also represent a host of new op-
symphony, orchestral musicians and the and reaching out portunities. What we do with them is up
numerous rock, pop, and jazz artists who We should never forget that Nashville to us. With the whole world looking at us
live here continually raise the bar as well. would not be where it is today without with admiration, this is definitely not the
Nashville is also the nerve center of blue- the collective contributions of those who time to devalue ourselves or our work.
grass and Americana music, both of which came before us and established the prin-
have never been more vital. We have a lot ciples of fairness and respect that have Solidarity versus fear
to feel good about as we move forward. fostered a sense of cooperation within Nashville has a proud and rich history
our community for so many years and that has brought us to where we are today,
Here to help made the Nashville music industry but we cannot rest on our laurels or make
The decision to become a professional mu- unique. At Local 257, we pride ourselves fear-based decisions. The alternative to
sician is never an easy one. No one I know in carrying on this tradition while look- solidarity is to go it alone and hope that
got into the music business because it was ing to the future and responding with everyone you do business with has your
easy. To be able to make a living doing meaningful new initiatives such as the best interests at heart. Anywhere there are
something you love puts professional mu- Single Song Overdub and Demo to Lim- musicians who want to work, there will
sicians in a very small minority in today’s ited Pressing Conversion Scales. be those who will try to take advantage of
society. There are many obstacles along Our increased involvement with lo- them. Negative energy is everywhere —
the way, and while the joy and fulfillment cal schools and universities, and Nashville but only if you choose to buy into it.
that comes from playing music helps give government have altered the perception of As a representative organization, we
us strength to weather the tough times, it the role of Local 257 in our community. are only as strong as you allow us to be.
doesn’t pay the bills. We know this and are People look to us to represent the collec- We will continue to do all we can to look
here to help you in every way we can. tive interests of all of our members as well for positive solutions, and take the high
The Nashville Association of Musi- as Nashville musicians as a whole, and we road and follow the path of respect. We
cians, AFM 257, was founded in 1902 take that responsibility very seriously. must look inward and challenge our-
to provide support and promote respect selves, communicate effectively, find new
for musicians. Over the years, the AFM Fighting the good fight ways to grow our business, move for-
has helped countless musicians, and We can all take inspiration from the ward together in solidarity, and most im-
has created a legacy with a future: Our story about Jimmy Nalls, Eddie Adcock portantly, make sure our collective voice
numerous national and local contracts and Pete Huttlinger in this magazine, is heard loud and clear. It is an honor to
provide meaningful wages, pension, which begins on page 19. They have represent you. Here’s to a great 2013! TNM
6 THE NASHVILLE MUSICIAN
 New Grooves
By Craig Krampf
the finest musicians in the world, Dave its own record label, and some of our
and I have been giving talks and semi- members volunteered to play with three
nars, partnering with other non-profits, young middle school artists as they put
and attending community functions. I down tracks to songs and studied the
am not kidding when I say that some process of recording.
of these interactions were often the first Since we were elected to office, Dave
Greetings, brother and sister musicians. that people ever had with our union. and I have wanted to develop a partner-
We are off into this new year and my Our continuing participation in these ship with a school, and that is now a real-
wish is that it is a good one — filled events is crucial in order for the citizens ity: We now have an official partnership
with health, prosperity, peace and love and leaders of Nashville to see that “the with John Overton High School. Overton
for all of us. I can’t believe we are be- musicians are here” in support, and to is the school that now has the emphasis
ginning our fifth year in office — the make sure our voices are heard. on music and following a musician career
time has gone by quickly. We have ac- path. I have had preliminary talks with
complished a lot, but our mission is just Education Overton, and after this year’s planning
as vital today — to keep our local and Since 2006, in a partnership with civic and learning start-up phase we will joint-
our members up to date and ready to and business engagement, the Metro ly develop musician-conducted seminars
meet the challenges of the ever-chang- Nashville School District has been re- and other programs for the students.
ing music industry. We greet the fu- designing its zoned schools into small-
ture with hope, and prepare for what it er learning communities, collectively Volunteering
might bring, while continuing to repre- known as The Academies of Nashville. Local 257 members who participated at
sent Nashville and the incredible musi- The various councils that make up the Career Day and at Pearl-Cohn will testify
cians who belong to Local 257. Academies program each have a dif- to what an incredible rewarding experi-
ferent career emphasis: Arts, Media & ence it is to interact with young students
New members Communications, Business, Marketing interested in music. Think back to people
Local 257 had another good year in & Information Technology, Engineer- who helped you in your career — I bet
2012 with 121 new members coming ing, Manufacturing & Industrial Tech- there are many who passed along some
on board. We all should feel proud of nology, Health & Public Services and wisdom they learned along the way. As
this because the word has spread with Hospitality & Tourism. For the last four an old Chinese proverb says, “When
the help of your efforts. Several musi- years, I have served on The Academies someone shares something of value with
cians from top bands have joined, in- of Nashville Arts, Media & Communi- you and you benefit from it, you have a
cluding musicians associated with Jack cations Partnership Council. moral obligation to share it with others.”
White and Third Man Records. For the last four years, we have This year we will be re-activating
Social media has changed the cul- been a part of Career Day held each fall our committees — which include edu-
ture in many ways, and Local 257 is no at the Convention Center. (See picture cation — and we will be reaching out
exception. We have a Facebook page with below) Over five thousand ninth grad- to all of you to help with this important
close to 1000 members, and post on ers visit Career Day, and interview pro- project. You can make a difference in
Twitter as well. I was asked by a Facebook fessionals from local businesses. Some the life of a young person who wants to
group for Nashville area drummers about have impressive displays, but our booth learn about music and become a musi-
the benefits of being a union member. In — always well-attended — is simple: cian for their chosen career. Believe me,
my response I invited them to attend one We play, because that is what we do. I truly understand how incredibly busy
of our open Think Tank meetings, and In 2012, we also participated in a life can be, but if you can spare a little
received great interest from the group. It’s wonderful recording session at Pearl- time, your wisdom and experience,
truly amazing to watch the way outlets Cohn School. Pearl-Cohn is an enter- I guarantee you the rewards you gain
like Facebook can facilitate education of tainment magnet school with a studio. will be one of the best “paychecks” you
prospective members. Warner Brothers set the school up with have ever received.

Community outreach and Epilogue

Local 257 I would like to leave you with a quote
A big part of our mission has been to from Forest E. Witcraft, an early 20th
reach out to our community in an ef- century scholar and teacher: A hundred
fort to interact and educate. This is Music years from now it will not matter what
City, and all of our local politicians, busi- my bank account was, the sort of house I
ness leaders, press, schools and universi- lived in, or the kind of car I drove — but
ties need to know what AFM Local 257 the world may be different because I was
does. As the representatives of 2,400 of important in the life of a child. TNM

January–March 2013 7
 news

CMA’s 46th annual

awards show
Blake Shelton took the top honor of En- Dozens of other Local 257 mu-
tertainer of the Year at the CMA’s 46th sicians performed with nominees
annual awards show, broadcast Nov. throughout the evening, including band
1 on ABC. The Nashville Musicians members with Taylor Swift, Dierks
Association member also won male Bentley, Luke Bryant, Lady Antebellum,
vocalist for the second year running, Keith Urban and many more. Full 2012
and shares this year’s Song of the Year CMA award details, including nomina-
award with his wife, singer Miranda tions and performers, are available at
Lambert. Shelton and Lambert are the CMAawards.com. TNM
first husband and wife songwriter team
awarded in that category.
A plethora of other AFM Lo-
cal 257 members won awards at the
Bob DiPiero
event, including first-time honoree Jay
Joyce, who produced both the win-
ning Album of the Year — Chief — for
Eric Church, and Single of the Year, for CMA
“Pontoon,” by Little Big Town. songwriters series
Guitarist, singer and songwriter
Mac McAnally is the recipient of this Fans across the pond
year’s Musician of the Year award, and
Best New Artist went to multi-instru-
proved they are
mentalist Hunter Hayes. passionate about
Musical Event of the Year was award-
ed to Kenny Chesney for his duet with country music.
Tim McGraw, “Feel Like a Rock Star.” Blake Shelton
Nashville Musicians Association mem-
bers Bob DiPiero and Kristian Bush
JAy Joyce will join the CMA Songwriters Series
when it returns to the United Kingdom
and Ireland beginning in February.
The series is presented by BMI and
Gibson Guitars, and will also feature
Chris Young and Brett James, with
dates in Dublin, Belfast and London.
The event began in 2005 in New
York and has expanded to cities across
the United States including Boston, Chi-
cago, Los Angeles, Washington, D.C. and
Phoenix. The series went to the United
Kingdom for the first time one year ago,
and was met with much acclaim.
“Fans across the pond proved they
are passionate about country music,”
said Steve Moore, CMA Executive Of-
ficer. “We look forward to taking this
series overseas again and introducing
more of our fantastic songwriters to
Photo: Giles Reeves
fans abroad.” TNM

8 THE NASHVILLE MUSICIAN

 News

Kings of Leon
Music City Walk of Fame
There’s a great music scene here now ... I
can only imagine how big it’s going to get
in the next 12 years. I definitely think rock
& roll is going to be a part of that growth.
Calling
for AFM
Member
Recordings!
GoPro Tunes, the AFM’s
new online music store,
is now collecting singles,
EPs and full albums from
AFM members.

Kings of Leon
HELP IS AVAILABLE
AT EVERY STEP!
Fans and friends of Kings of Leon gathered at the downtown Walk of Fame Park last
• Set your own prices,
September to cheer on the Nashville rock band as they received two distinct honors. pay no upfront fees
The band was inducted into the Music City Walk of Fame, receiving the 61st • Receive 100% of sales,
star in the park’s pavement among the legendary likes of Hank Williams and minus credit card
Dolly Parton, and bassist Bob Babbitt, the first backing musician so honored. processing fees
During his opening remarks, Mayor Karl Dean surprised the band with a
second honor: the Music City Ambassador Award. The members of Kings of Leon • Easy to use online interface
are the second recipients of the award (following local rocker Jack White), which
honors individuals who bring international recognition to the city’s music scene.
Drummer Nathan Followill said it was a special occasion for the band, com-
prised of brothers Nathan, Caleb and Jared and cousin Matthew Followill. “We
grew up traveling quite a bit for most of our childhood. And I think especially me,
Caleb, and Jared view Nashville as the first real home that we’ve ever had. We’ve
been here for almost 12 years now, which is definitely the longest we’ve ever been
in one place. Nashville already feels like home, but to have this honor bestowed on
us just makes it that much more sweet. For more info reach us at
“There’s a great music scene here now, and Nashville’s grown so much since we WWW.GOPROTUNES.COM
GOPROTUNES.COM
first moved here, so I can only imagine how big it’s going to get in the next 12 years,” Call us at 1-800-762-3444 ext 238 during
Followill said. “I definitely think rock & roll is going to be a part of that growth.” TNM normal business hours EST

January–March 2013 9
news
Charlie Daniels, Vince Gill and Randy
Leadership Music Owen were presented with the annual
Leadership Music Dale Franklin Award

Dale Franklin award last October. The three Local 257 mem-
bers were recognized for their humani-
tarian service at an event held at War
Memorial Auditorium in Nashville.
The award is named for the first
director of Leadership Music, and was
created in 2004 to recognize music
industry leaders for exemplary leadership
qualities. Former winners include Tony
Brown, Gerry House, Emmylou Harris,
Allen Reynolds, Bradley family members
Owen, Harold, Jerry, Connie and Patsy,
Fred Foster and Kris Kristofferson.
Jeff Gregg, president of the Lead-
ership Music board, said that the three
award winners are known for their
iconic contributions to popular music
but that “it is their heart for service
and giving back that has been the hall-
mark of their careers. Through their
work with numerous charities, they
Mayor Karl Dean, Vince Gill, Charlie Daniels & Randy Owen have made a difference in the lives of
countless people.” TNM

11th Annual
Americana HOnors

My Favorite Picture of You.

I wrote this for my
wife Susannah, who
died in June. “I wish
she could be here to
hear it. But I’ll play it
for her anyway.

(L-R) Verlon Thompson, guy Clark, Shawn Camp

Local 257 members Gillian Welch and her partner Dave Rawlings both won big at the 11th Annual
Americana Honors and Awards event, which took place last September in Nashville. Welch won the
Artist of the Year award and Rawlings took Instrumentalist of the Year.
Another Nashville Musicians Association member, Shawn Camp, won Producer of the Year for This
One’s For Him, A Tribute to Guy Clark, an award he shares with co-producer Tamara Saviano.
The win came after Clark, also a Local 257 member, took the stage for a performance of “My Fa-
vorite Picture of You.” “I wrote this for my wife Susannah, who died in June,” Clark told the crowd. “I
wish she could be here to hear it. But I’ll play it for her anyway.” TNM

10 THE NASHVILLE MUSICIAN

 Heard on the Grapevine

Heard
ton Delaney Died,” “(Old Dogs, Children
and) Watermelon Wine,” and “I Love.”
The Grammy winner also wrote
for others with great success, including

on the Grapevine “Harper Valley P.T.A.,” which Jeannie C.

Riley took to No. 1 on country and pop
charts in 1968, “The Pool Shark,” a chart-
topper for Dave Dudley; and “Little Bitty,”
a mega-hit for Alan Jackson in the late ‘90s.

Jack Ingram

Local 257 member Jack Ingram, actor

Ken Burns Matthew McConaughey, and University
Award-winning documentary filmmaker Ken Burns is currently working on a film of Texas head football coach Mack Brown
about the history of country music. According to the film’s producer partner, Dayton have announced that they are coming to-
Duncan, the project will feature interviews from country icons such as Little Jimmy gether for a special two-day event to ben-
Dickens, musician and producer Harold Bradley and many more. efit various charitable organizations that
“We’ve done films about uniquely American ideas and things that help tell us who will positively impact the lives of kids by
we are as Americans. Country music really combines both of those things,” Duncan said. supporting programs dedicated to em-
Burns and Duncan estimate the project will take five years to complete. powering children across the nation.
Together, they will debut the inaugu-
Lyle Lovett ASCAP presented Local 257 member Lyle Lovett with the Creative ral Mack, Jack & McConaughey (MJ&M)
Voice Award at its 50th annual ceremony Oct. 3 in Nashville. The award is given to an event, a nationwide philanthropic effort
ASCAP member whose career achievements are equally informed by their creative spirit to make a difference in the lives of under-
and by their contributions to the role of music creator served children. “We wanted to create a
in the community. Prior recipients of the award in- true, lasting impact and that inspired us
clude Wyclef Jean, Green Day and Metallica. to come together,” Ingram said.
Lovett is a four-time Grammy winner, known MJ&M will be the joint fundraising
for his convention-defying music that fuses elements effort by Sally & Mack Brown, Amy and
of country, swing, jazz, folk, gospel and the blues. Jack Ingram, and Camila and Matthew
McConaughey each year. “Our commit-
Tom T. Hall ment to children’s charities and our pas-
BMI celebrated the incredible songwriting career of Local 257 member Tom T. Hall sion to empower kids is why we joined
by naming him a BMI Icon at the company’s 60th annual Country Awards. The pri- together to create this important effort,”
vate ceremony was held Oct. 30 at BMI’s Music Row offices in Nashville. said all three principals in a joint state-
The BMI Icon award is given to songwriters who have had a “unique and indel- ment. “This is a great opportunity for
ible influence on generations of music makers.” everyone in Texas to make a big impact
Hall, a member of the Country Music across the entire country.”
Hall of Fame, is one of the original On April 11-12, MJ&M will kick
master craftsmen of country music, off with an inaugural two-day celebra-
a distinct voice who elevated the art tion in Austin, Texas. Additional de-
form. As a recording artist, Hall had tails will be announced in the future.
seven No. 1 singles, all self-penned. Visit mackjackmcconaughey.org for
Among them are “The Year That Clay- more information. TNM

January–March 2013 11
Gallery
Local 257 110th Anniversary Party
Members, friends, local and federation
staff,and the IEB board celebrate a big
milestone with music, food and drink.

John England and the Western Swingers performed

for the
crowd at Local 257’s 110th anniversary party. (L-R
) Pappy
Merritts, John England, Walter Hartman, Jim Hoke
and
David Spicher.

Members of the Federation

International Executive Board and
other representatives of the AFM
were in Nashville for a meeting
and attended the party. Left to
right: attorney Jeff Freund, Craig
Krampf, Local 47 President Vince
Trombetta, Local 802 President
Steel player Chris Scruggs, drummer Walter
Tino Gagliardi and Dave Pomeroy. Hartman and fiddler Pappy Merritts perform at
Local 257’s anniversary party.

A music transcription and arranging service in Nashville

transcriptions arranGinG
• Lead Sheets 35 years’ experience creating
Office manager Anita Winstead and symphony
• Chord Charts top quality arrangements steward Laura Ross cut the cake.
• # Charts in various genres and
instrumentations for recording
• Piano / Vocals
sessions and live performance
• Computer generated parts
and scores in any key from
hand written originals

All work done exclusively using Finale Notation Software

615.373.0046
www.skipperandcrewMusic.com
Local 257 members Chester Thompson, Dennis Holt and
Danny O’Lannerghty catch up over a refreshing beverage.
12 THE NASHVILLE MUSICIAN
 Gallery

The legendary Ralph Stanley played a

set with his band at the Hardly Strictly
Bluegrass festival in San Francisco’s
Golden Gate Park last October.

Photo: Donn Jones

Country Music Hall of Fame and Museum

Photo: Jay Blakesberg

Billy Sanford, a life

member of Local 257,
was honored as a
Nashville Cat by the
Country Music Hall
of Fame on Nov. 17,
Lori Mechem and Roger Spencer present the
2012. He is pictured
Nashville Jazz Workshop Heritage Award to
with Bill Lloyd, (left)
Jeff Steinberg at Jazz Mania as drummer Duffy
the host of the event.
Jackson looks on.

Hargus “Pig”
Robbins entered
the Country
Music Hall
of Fame in a
ceremony held
Oct. 21, 2012.

Friends and staff attended the planting of a ginkgo tree at the local in
Photo: Peyton Hoge
memory of Liza Martín McKenzie, member of the recording depart-
Courtesy of the Country Music ment at Local 257. continued on page 14
Hall of Fame and Museum
January–March 2013 13
 Gallery
continued from page 13

Bassist Leon Medica gets his life member pin from fellow
lowender Dave Pomeroy. Leon, best known for his work with
LeRoux, joined the AFM in 1967.
Dennis Burnside, who has been a member of the AFM since 1972,
receives his life member pin.

Billy Thomas, long-time drummer for Vince

mber pin at the Multi-instrumentalist Dan Schafer is
John Darnall received his life me Gill and the Time Jumpers, receives his 25
ty. Darnall presented with his 25-year pin and
Local 257 110th anniversary par year membership pin from fellow drummer,
joined the AFM in 1969. congratulations from Craig Krampf. A Secretary-Treasurer Craig Krampf.
former RCA recording artist, Dan has
toured with George Jones, Shania Twain,
Barbara Mandrell and many others.
TNM

14 THE NASHVILLE MUSICIAN

Photos: Brian Stowell

PUNCH
BROTHERS
By Warren Denney

Band wthout Boundaries

Ask Nashville sound guru Dave Sinko about age of the endless snapshot pop parade.
his engineering approach to performances And, they have done it through an impec-
by the acclaimed band Punch Brothers, cable attention to craft and detail, while
and he’ll jokingly respond “I just turn them retaining aspects of the deep roots found
up! That’s my favorite thing to say.” in bluegrass and folk music.
Punch Brothers, of course, is the virtuosic The band — all members of Local 257
collection of mandolin master Chris Thile, except for Local 47 member Witcher — is
guitarist Chris Eldridge, banjoist Noam Pikel- collectively, and individually, Grammy-
ny, fiddle player Gabe Witcher and bassist nominated; critically acclaimed; featured
Paul Kowert. The distinguished “string band” on soundtracks of major Hollywood movies
has been altering the popular music land- — and, oh yes, one of them — Thile — is
scape for six years now, and has carved an a 2012 recipient of a prestigious MacArthur
improbable niche for itself in this streaming Foundation “genius grant.”
continued on page 16

January–March 2013 15
continued from page 15
was a big year. Punch Brothers toured
relentlessly, closing out with three
nights at The Bowery Ballroom in New
York City. In the studio, the band fol-
lowed up 2010’s celebrated Antifogmatic
on Nonesuch Records with a February
release of Who’s Feeling Young Now?, pro-
duced by Jacquire King, and in Novem-
ber released the EP Ahoy!. Additionally,
Punch Brothers were featured heavily
in the movie score for Judd Apatow’s
This Is 40, released in December.
Who’s Feeling Young Now? And Ahoy!
represent Punch Brothers’ progressive
“I feel like [musical genres are] a journey, records which feel more ori-
completely antiquated notion ...” ented toward the traditional song form.

P
By contrast, the initial Punch Brothers
album, 2007’s marvelous, personal, and
unch Brothers blur the ers, and Pikelny with Leftover Salmon ambitious Punch, featured a 40-minute,
lines between blue- and the John Cowan Band. Additionally, four-movement suite “The Blind Leav-
grass and classical mu- Pikelny’s own 2012 record Beat The Devil ing the Blind,” placing the band in
sic, pop and indie, jazz and Carry A Rail (produced by Witcher) ponderous territory for a general (if
and Americana. In fact, has a Grammy nomination of its own unimaginative) audience.
to attempt to define the for Best Bluegrass Album. But, that acclaimed record repre-
sound and the style is a futile exercise, Multi-instrumentalist Witcher has sented a strong foundation, and a be-
but the attempt in itself proves the funda- played with a virtual Who’s Who of art- ginning, one built on musicianship and
mental point of the band. Though Punch ists — ranging from Willie Nelson to care. Now, as evidenced by the band’s
Brothers is constructed with the instru- Dwight Yoakam, to Michelle Shocked, ever-growing popularity, there are lis-
mentation of a string band, it bends the and beyond — and has contributed to teners out there who care, as well.
notion in so many directions that they movie scores such as Brokeback Mountain, “People who appreciate music
can be but one thing — Punch Brothers. Soul Men and others. Kowert is the baby, deeply tend to like Punch Brothers,”
As Thile told Paste Magazine last Oc- having joined Punch Brothers in 2008. Sinko said recently, from his Nash-
tober, such definition was misguided. He studied under the legendary bassist ville home. Referred to by the band as
“I feel like [musical genres are] a Meyer, and it was through that connec- the ‘Sixth Punch Brother,’ the veteran
completely antiquated notion and one tion that he replaced original member soundman has been involved in each
that only has a negative influence on Greg Garrison. record, and hits the road with them as
the creation of meaningful music,” he Individual projects aside, 2012 the formal caretaker of the sound. “And
said. “I would love to make a record
with all the people that I have run into
that really, really inspire me, that just
drag music out of me. I love that feeling
like music is almost just pouring out of
you because of what musicians you are
around cause you to feel.”
Thile, of course, has experienced
stardom before with Nickel Creek, and
on his own. He is a consummate col-
laborator. Point in fact — The Goat Ro-
deo Sessions, a 2012 effort recorded by
Thile, cellist Yo-Yo Ma, bassist Edgar
Meyer, and fiddle player Stuart Duncan.
The project received a recent Grammy
nomination in December for the Best
Folk Album category.
Other Punch Brothers have been “I think we all want to make music
we really love and are fascinated by.”
integral parts in bands of note — El-
dridge with the Infamous Stringdust-
16 THE NASHVILLE MUSICIAN
that’s [because of] the technical level “[There is] the magic of the five-piece orienta-
and the musicianship. They don’t sacri-
fice groove or feel for the technical stuff tion of instruments. We realized we could put this
— that part of it appeals to anybody.
You know a good groove and a great together with like-minded people and pursue all
song just works. kinds of different music, but in particular to create
“This current record definitely seems
to strike a chord with a lot more people music together — to try and produce something
than ever before. That’s where they are
leaning toward — just good music.” new within the ensemble.”
Guitarist Eldridge has his own un- recorded at Blackbird Studio in Nash- the phenomenon that is Punch Brothers.
derstanding of that relationship with ville, as was Ahoy!. “It’s an interesting thing — these
the audience. “Nashville was really an awesome [instruments] are our most familiar
“I think we all want to make mu- place for me to be,” Eldridge said. His and original loves musically,” he said,
sic we really love and are fascinated by,” father, Ben, is the banjoist in the award- also at home in New York City for the
Eldridge said recently while on holiday winning band The Seldom Scene, and holidays. “We grew up playing these
break in Brooklyn. “We want to make Eldridge always knew he was going to bluegrass instruments and we were all
music that will reach people. They don’t come to Nashville after college. “I grew introduced to a life of music through
have to be mutually exclusive — there up [in Maryland] with all these profes- this community that surrounds blue-
isn’t anything wrong with taking your sional bluegrass musicians, but I didn’t grass, but what drew us together was
audience into consideration — and feel- have any peers to play with. It was al- our interest in playing all different
ing happy and fulfilled, and satisfied. most like I didn’t play with anyone my kinds of music.
“We’re so lucky. We have an awe- own age until I got to Nashville. “It’s the fact that we put together this
some label in Nonesuch, absoulutely the “Nashville was this incredible classic bluegrass ensemble, which is really
best. They implicitly trust us to be cool, thing for me — all these incredible a wonderful kind of assortment of instru-
but we don’t want to alienate the world. players around. A ton of young players. ments — the way that a bluegrass engine
Punch was a hell of a way to come out of Picking parties. It was really a kick in works —one of the perfect ensembles.
the gate. The first song is almost atonal the pants — inspiring. It was a fertile [There is] the magic of the five-piece ori-
— pretty confused tonality. We had to environment. You didn’t want to get entation of instruments. We realized we
go through that to come out on the other your ass kicked. It wasn’t a negative en- could put this together with like-minded
side. There’s actually something noble vironment by any means, but it made people and pursue all kinds of different
about including people. We can all share you work really hard.” music, but in particular to create music
something together.” Pikelny, winner of the 2010 Steve together — to try and produce something
Nashville has been a creative Martin Prize for Excellence in Banjo new within the ensemble.
touchstone for them all, though New and Bluegrass, concurred. “As much inspiration as we have
York City has become their collective “I got an invitation to move to from traditional bluegrass music, the
home. Who’s Feeling Young Now? was Nashville from John Cowan,” he said. spirit of the pioneers playing bluegrass
“I played with him for three and a half — Bill Monroe and Earl Scruggs — then
years, and I met Chris Thile during that on to John Hartford and later genera-
time and the idea behind Punch Broth- tions [like] Béla Fleck and Edgar Meyer
ers was born. I look back on Nashville — there’s the spirit of innovation as the
as one of the most amazing times in common thread through all these gen-
my life. So many great opportunities to erations playing these instruments.”
play music and I love the community of Aside from Thile, the spiritual cen-
musicians in that town.” ter of the band, it may be Sinko who
It is the instrumentation of the most understands the fundamental
band that defies today’s logic. Of course, building blocks beneath Punch Broth-
there are great musicians in all popular ers. Sinko’s eclectic background in-
genres, and the world seems to revolve cludes building yachts, as well as man-
on hard-driving rock & roll, certainly dolins — the original reason he moved
not around the elusive unicorn of blue- to Nashville.
grass — or bluegrass-rooted — music. “I came here to build instru-
But, as Nashville knows, it is within ments,” Sinko said. “I was kind of just
that form in which all popular Ameri- breaking even — and for extra work
can music can be found. I started helping people finish studios
Pikelny tried to shed musical light on out. I had some background in audio
continued on page 18
January–March 2013 17
continued from page 17

“I look for keeping balance between the technical real identity is here. The conciseness of
the songs are made for the record.”
and the musical. If it gets too technical, it can be Also, he recognizes the good for-
clinical or not soulful. If it gets too musical it can tune of being in this place and time.
just be noise. Finding that balance is really where I “We see this – the Punch Brothers
– as a chance to make a living doing
like to live.” –Sinko something that we really love,” Kowert
and I ended up working with several “I look for keeping balance be- said. “We knew that would be rare, hav-
studios, including Sound Emporium tween the technical and the musical. If ing a band and a musical product that
where I wound up staying for 12 years. it gets too technical, it can be clinical we’re as proud of as you can imagine.
“But, my first field of study was or not soulful. If it gets too musical it We’ve been trying to make that happen,
yacht design. I studied and worked for a can just be noise. Finding that balance and that’s meant spending a lot of time
yacht designer in Florida. I walked into is really where I like to live. It’s where on the road – touring in support of the
a situation where we were lofting boats Punch Brothers live. The musicality of album and spreading the word.”
full size on a huge floor and building sound is just not considered all that Whatever the formula — or the
them from scratch. much these days. perspective — it all adds up to a pop-
“The technical aspect of building “It’s also the fact that these guys ularity with a thriving audience one
and making things really helped me. In play the instruments for the way that might not expect.
building instruments, I was tap-tuning they sound — like that instrument. The “Right now is an interesting time
bodies of mandolins to a proscribed re- microphones and the pickup systems on for what might be construed as string
lationship of tuning and listening for the every one of the instruments are very band and bluegrass music,” Pikelny said.
notes, and difference of notes in tapping similar. The sound is in the difference in “There are some high profile bands out
it left to right, and front to back. The ear the instruments, and not the difference there like Mumford & Sons, The Avett
training I got tapping on mandolins was in the systems to pick them up.” Brothers, that are utilizing more tra-
really valuable in audio. You know, study- Bassist Kowert believes the truth of ditional instrumentation, and people
ing what a great instrument sounds like Punch Brothers is most likely found in are following these little trails of bread
is a great place to start when you’re put- the live shows. crumbs to actual bluegrass bands. Some-
ting a microphone in front of something “The live show is maybe where we one might follow this trail and find
— having a concept of what something excel the most,” he said during an air- Ralph Stanley — I think we’re also on
should sound like is a nice starting point.” port layover on his way home for Christ- that kind of task of tracing roots of faith.
It is this understanding of con- mas in Wisconsin. “With Antifogmatic, we “We hear comments from people
struction and sound that makes Sinko were trying to incorporate more of the ‘I never knew I liked bluegrass.’ Now
so valuable to Punch Brothers. He met experience of the live show, and Who’s people may be stumbling up on Punch
Thile through Meyer in 2007, prior to Feeling Young Now? is a little more ‘live’ the Brothers, never imagining they’d like
the disbanding of Nickel Creek, when way it was recorded. music featuring this kind of instrumen-
the three worked together on the re- “The energy of the live perfor- tation. I think people are latching onto
cord Edgar Meyer & Chris Thile. mance sets you up for a different experi- this — maybe yearning for something
“He [Thile] asked me to do sound ence. We play to that in a live show. The a little more authentic.” TNM
for the last Nickel Creek tour and I could
not,” Sinko said. “But when Punch Broth-
ers were getting it together to do their Engineer Dave Sinko preps for a show with Punch Brothers.
first publicized show at the Belcourt The-
ater in Nashville, they asked me to do the
sound. I was thrilled to do it, and it was
a really strong show. I, like, went ‘Wow!’
and I thought, ‘I need them and they need
me.’ That was six years ago.”
Sinko essentially translates the
sound, and the band and he have dis-
cussed all the goals, and tested all the
equipment, with each member sitting
in jury on each instrument. That type
of attention to detail presents a rare
opportunity to transcend certain envi-
ronments. You can expect a consistent
sound at a Punch Brothers show.
18 THE NASHVILLE MUSICIAN
 W hen
The Going Gets
Tough
The Tough Keep
P laying
By Kent Burnside

A working musician’s life isn’t the easiest even when times are
good. Now imagine what happens when a serious health crisis
is thrown into the mix. At that point a decision must be made: Do
I just give up? Or do I fight my way back?

The three players profiled here each faced such a moment. Each
had achieved significant musical success, evidenced by presti-
gious awards and well-established performing careers, before
his illness. The Nashville Musician recently caught up with all
three to find out what happened and to see what lies ahead.
continued on page 20
January–March 2013 19
continued from page 19

Jimmy Nalls

Eddie Adcock
How and when did you dis-
cover you had a medical

Eddie Adcock Pete Huttlinger problem?

Eddie Adcock has been a musical ist signed to Steve Vai’s Favored Nations Adcock: My picking fingers just
innovator and driving force in the Acoustic label. As a sideman he is fea- wouldn’t behave, and it became ex-
bluegrass community for over 60 tured on multiple Grammy-nominated tremely frustrating. Before that I’d nev-
years. He worked with Mac Wiseman recordings. He has also performed at all er even had to think about what I want-
before joining Bill Monroe’s Blue Grass three of Eric Clapton’s Crossroads Fes- ed to play; it just came out. The more I
Boys in 1957. As a member of The Coun- tivals and three times at Carnegie Hall, think about it now, I believe the diffi-
try Gentlemen (1959-70), he was one of twice as a solo act. culties began as early as 1990. By about
the first 5-string banjo players to perform 2000 I felt it was obvious to others, too.

Jimmy N alls
at Carnegie Hall. Eddie and his wife Mar- I began to see a neurologist, Dr. Craig
tha have worked as a duo since the early Woodard, who diagnosed the problem
1970s; together they own and operate Jimmy Nalls worked extensive- as intent tremor, which means there’s
Sunfall Studio and RadioTherapy Records. ly as a journeyman guitarist in no tremor until you use the hand.
In addition to performing, Eddie New York and his hometown of
teaches at many acoustic music camps Washington, D.C. before teaming Nalls: My mother had Parkinson’s Dis-
and workshops; he’s also featured in up in 1976 with three members ease (PD), so I was familiar with the symp-
four Homespun Tapes instructional vid- of the Allman Brothers Band to toms. I began to lose my balance while on
eos on both banjo and guitar. His list of form Sea Level. The band garnered tour with T. Graham Brown [Nalls was a
awards is lengthy, including member- widespread critical acclaim during its member of Brown’s band 1990-94]. Short-
ship in numerous Halls Of Fame. run, which lasted until 1981 and pro- ly after that I saw an article in Reader’s Di-
duced five albums. Sea Level pioneered gest that confirmed my fears, so I made an

Pete Hut t linger an innovative blend of jazz-rock fu-

sion, R&B and southern rock; their
appointment with my doctor.

Pete Huttlinger is renowned among fin- biggest radio hit, “That’s Your Secret,” Huttlinger: I knew from the time I
gerstyle guitar enthusiasts around the revealed an eclectic range of musical was very young that I had a heart con-
world for his jaw-dropping solo rendi- influences. Following the band’s dis- dition. I had surgery when I was just
tions of pop classics such as “Supersti- solution Nalls worked with Noel Paul shy of 13 to patch up a couple of holes.
tion” and “Josie.” He toured and record- Stookey, B.J. Thomas, Charly McLain So I’ve lived with the knowledge that
ed with John Denver until the singer’s and The Nighthawks. He relocated to something could and probably would
untimely death in 1997; his other cred- Nashville in 1986, with strong encour- go wrong. But absolutely nothing pre-
its include artists such as LeAnn Rimes agement from Dave Pomeroy. In 2011 pared me for a stroke!
and SheDaisy. In 2000 Pete took first he published his memoir, Wood and I suffered a major stroke on Nov. 3,
prize in the National Fingerstyle Guitar Wire: The Life and Music of a Guitar Slinger 2010. I woke up completely paralyzed on
Championship, and he was the first art- and His Fight with Parkinson’s Disease. my right side and could not speak. I had
20 THE NASHVILLE MUSICIAN
emergency surgery, and thankfully they procedure has helped me immensely. I takes time to make itself known, and
were able to save my life. I went through still have to take medication for PD, but I didn’t realize what was happening to
rehab for a few months until I realized compared to the suffering I witnessed me until it was too late. I’m still making
that it was not helping me relearn to play, my mother going through I’m very progress, not so much from the heart
so I quit rehab and started playing again. thankful for this technology. surgery but in my recovery from the
Three months after my stroke, heart stroke. I read a great book, My Stroke Of
failure hit hard. I spent most of the next Who helped you through the Insight, and the author (Jill Bolte Taylor)
five months hospitalized in Houston. I recovery process? states that it takes eight years to recover
weighed 160 when I entered the hospi- fully.
tal; by the time I left I weighed 110, and Adcock: Martha has been my best I’m working again and loving it
couldn’t even play a D chord on the guitar. friend for nearly 40 years, and she’s more than I ever have. I wake up ev-
been a partner in this whole process. ery day and give thanks for the day, and
How were you treated? then I get out of bed and get to work.
Nalls: Parkinson’s is a degenerative dis- I’ve also begun doing public speaking
Adcock: Dr. Woodard tried a doz- ease whereby the battles and frustrations about all I’ve gone through and over-
en different medicines, but nothing get more and more difficult day by day. I’m come. The title of my talk is “Don’t Just
helped. Finally he told me about a cut- very thankful, though, for my family and Live — Live Well!”
ting edge (no pun intended) brain sur- friends who have gone out of their way to
gery being done at Vanderbilt called visit me and to offer encouragement. Adcock: I’ve tried to be an ambas-
Deep Brain Stimulation. Martha and I sador for this surgery since I’m a pio-
weighed the options carefully, because Huttlinger: My wife Erin has been neer, being one of the first musicians to
the procedure is extremely risky. But my biggest champion. She was with have high-level ability restored. They’ve
it was (again, pardon the pun) a no- me almost every day in Houston, and had me speak to medical conventions,
brainer. If I’m living I want to be able to she worked hard to keep my spirits up and the whole world can see my sto-
play; it’s as simple as that. when I was at my sickest and weakest ry on television and the internet; you
The surgery was performed by Drs. point. When we got back to Nashville can Google “Eddie Adcock brain” and
Joseph Niemat and Peter Hedera, and it she encouraged me to play again. She check it out.
worked perfectly. People began to call never gave up, so how could I? She was Through everything I’ve kept work-
me the Bionic Banjo Man. But I broke right there when I did the half-mara- ing and recording, even writing a num-
the wire when I hit my head getting thon; we walked almost every day for ber of tunes that I really couldn’t play
into the car, and the battery in my chest five months getting ready for the race. until after the surgery. The difficulty and
had begun to malfunction, so they had I should also mention Collings Guitars. the recovery slowed me down some for
to redo the whole thing twice to get the Their policy is not to have artist signature a while, but I’ve got a head of creative
brain electrodes back into the “sweet guitars, but when it became evident that steam that’s pretty good for age 74! I’m
spot.” I was awake and playing the ban- my medical expenses were going to be finishing a two-banjo instrumental al-
jo during all the surgeries. beyond my means they said, “We want to bum with Alan Munde now, and there
help.” They made a Pete Huttlinger model are quite a few projects I want to do. I
Huttlinger: At the Texas Heart Institute to help me with my bills. That made me don’t want to quit. Every day is a gift.
I received a heart pump. Dr. Bud Frazier did want to play again even more.
the surgery; he’s simply the best, and I was Gentlemen, our deepest thanks to
very blessed to be sent to him. No therapy How are you doing these days? you for sharing your stories. Each of
currently. I quit after a few months, and What are you working on, and you is an inspiration, and we wish you
now I go to the JCC or to Warner Park and what’s in store for the future? much success in the future.
walk. It’s like playing music: It’s better to
not be the best player in a band when you Nalls: Playing the guitar is very dif-
are learning, because you’ll learn so much ficult now. However, along with my “I’m working again and
more and you’ll learn it much faster. The good friends and fellow musicians loving it more than I
same concept applies to getting healthy — Steve Curnow and John Wilhelm, I’m
don’t hang out with sick people, hang out reviewing some tracks that I laid down ever have. I wake up
with healthy people. back when I could play. We’re hoping to every day and give
build on these tracks to produce a new
Nalls: I began taking medication for album. Also, I have plans to produce thanks for the day, and
the symptoms, but after several years a follow-up to my book Wood and Wire
as the disease progressed, my doctors with photographs from my career.
then I get out of bed
and I realized that Deep Brain Stimu- and get to work.”
lation surgery was needed. At the time Huttlinger: I’m better than I’ve been
it was fairly new and uncommon. The in the past eight years. Heart disease TNM

January–March 2013 21
The Nashville Musician who is also a world-class violist. The they are a class act, true artists, and great
compositions incorporate an astonishing representatives of the “real” Nashville.

Reviews
range of influences. The carefully chosen – Roy Montana
instrumentation fits each piece perfectly,
and the musicians give outstanding Easton Corbin All Over The Road
performances in every setting. Mercury Records
The album grows deeper with There’s nothing complicated on Easton
repeated listenings, and shows that cutting Corbin’s second release (following 2010’s
edge acoustic chamber music is not limited debut, Easton Corbin). He’s clearly in his element
to any one genre or location. Founded in singing about, well, one subject: girls. Not
2002 by violinist and Nashville Symphony that there’s anything wrong with that.
Recording artists member Zeneba Bowers, Alias received In fact, All Over The Road might
often face the ‘sophomore a Grammy nomination for their 2011 actually be stronger owing to its lack
curse,’ wherein they simply debut record, Hilos, produced by cellist and of diversity: No drinking songs, no
can’t deliver on the promise founding member Matt Walker. “look-at-how-country-I-am-y’all,” no
The album opens with a feature for reflections on the meaning of life. As
of their first albums. All Alias’ string players, including violinist they say, write what you know.
Over The Road reveals that Jeremy Williams and violist Chris Farrell, The title track gets things off to a
Easton Corbin has little to plus Bunch himself, for his five-part good start, a radio-ready explanation for
fear on this point. extended composition “String Circle.” The the singer’s erratic performance behind
first movement, “Lowdown,” starts with the wheel: “It’s hard to drive with her
a drone that grows into a dynamic round hand over here on my knee / When
robin of pizzicato and bowed strings, she’s all over me, I’m all outta control /
building into a strong 2/4 beat with I’m all over the road.” Producer Carson
hoedown-influenced fiddle lines before Chamberlain cowrote five of the eleven
deconstructing into a string ostinato over songs on the record, including this one
a deep descending melodic line. with Ashley Gorley and Wade Kirby.
“Shuffle Step” again expands the “Lovin’ You Is Fun” laments the fact
melodic vocabulary of traditional fiddle that friends sometimes expect romantic
styles while leaving room for contrasting relationships to be more complicated
cello explorations. “Ballad” is mournful than they have to be. “Hearts Drawn In
and evocative with subtle texture shifts The Sand” looks back fondly on a summer
that bring to mind Eastern Europe. relationship that never was meant to last.
“Porch Picking” is a playful excursion Corbin’s primary vocal influence
in pizzicato playing, and the finale seems to be George Strait — not that
“Overdrive” is a complex piece ranging there’s anything wrong with that,
from folk to funk, impeccably executed. either. This comes through most
“Drift” is a long, reflective trio noticeably in “Only A Girl,” “Tulsa
piece that features clarinetist Lee Levine, Texas” and “I Think Of You.” Worth
Farrell’s viola, and Roger Weismeyer’s noting is that these three are the
beautiful piano playing. “26.2,” for string album’s most emotionally compelling
trio and Leslie Norton’s French horn, was vocal performances; the last is also the
inspired by Bunch’s first time running longest track on the album, giving the
the New York Marathon. “Luminaria” is a band plenty of space on the slow fade.
stunning duet for Alison Gooding’s violin And what a band it is: Local 257
and Licia Jaskunas’ harp. The title track members Brent Mason, James Mitchell,
brings it all together with Todd London’s and Biff Watson (guitars), Glen Worf
rock-influenced drums, Joel Reist’s strong and David Smith (bass), Eddie Bayers
bass playing and percussive, ascending (drums), Gary Prim (keys), and Paul
string lines that build to a peak and end Franklin (steel).
Alias Chamber Ensemble appropriately with the sound of a tea Recording artists often face the
Boiling Point: The Music of Kenji Bunch kettle whistle. “sophomore curse,” wherein they
The Alias Chamber Ensemble’s new Alias maintains a sense of groove simply can’t deliver on the promise
album is a multi-faceted masterpiece throughout this record rarely found of their first albums. All Over The Road
that covers an enormous amount in contemporary classical recordings. reveals that Easton Corbin has little to
of stylistic ground showcasing the Everything about this album — the music, fear on this point.
innovative compositions of Kenji Bunch, sound, package, and liner notes — prove – Kent Burnside
22 THE NASHVILLE MUSICIAN
 segues into the dreamlike verse of “Sun King.” The overdubbed layers of pedal steel
create a hauntingly beautiful chorus, and Kahan really captures the McCartney bass tone
and vibe. “Let It Be” features Daly on Weissenborn guitar; it’s an inspired combination
of thumping fingerstyle and slide, Muhlenberg County meets County Lancashire.
The Allman Brothers Band’s “Hot ‘Lanta” features excellent solos from Chancey
and Jimmy Hall (on tenor sax) before Daly enters, pulling out all the stops; his
virtuosic playing here calls to mind Buddy Emmons’s legendary Redneck Jazz
Explosion. Edgar Winter’s “Frankenstein” keeps the monster riffs of the original,
but sets it to a hoedown two-beat. Only in Nashville.
It’s a tribute to Daly’s musical ingenuity that he can breathe new life into that 1970s
senior prom staple, “Colour My World.” The arpeggiated opening is performed on
clean-toned steel, with the verse melody heavily overdriven for a smooth vocal quality.
Intonation on the layered melody lines is flawless, no small feat for a slide instrument.
All in all a highly imaginative and fresh take on some well-loved music.
– Kent Burnside

Marty Stuart And His Fabulous Superlatives

Nashville, Volume 1: Tear the Woodpile Down Sugar Hill Records
It’s no secret that for decades Nashville records came up short in the liner notes
department; in fact, for many years they had none at all. Thankfully, this began to
change some time ago, and with Nashville, Volume 1: Tear The Woodpile Down, Marty Stuart
seriously raises the bar with an autobiographical essay that covers six of the ten pages
of the CD insert.
“Tear The Woodpile Down” is a barn-burner in the Bakersfield tradition, with
special guest Buck Trent. Kenny Vaughan rips through two guitar

reviews
solos before Gary Carter wraps it all up on pedal steel.
“Sundown In Nashville” sums up the mixed feelings experienced
Mike Daly Rock Of Ages by those who arrive here to chase their dreams, only to collide both
At some point in your life you heard with reality and with the hard truth about just what comes with those
“Layla” and probably thought, “That’s dreams: “It’s a place where dreams come to harbor / A country boy’s
cool, but what it really needs is a pedal Hollywood.” A select few will achieve goals even beyond their wildest
steel. And a reggae groove.” expectations; the rest, not so much. “Each evening at sundown in
No? You didn’t think that? Okay, Nashville / They sweep broken dreams off the street.” Indeed.
neither did I. But Mike Daly did. And Of musical interest here is the way the band makes waltz time
that’s just one of ten rock classics to sound like 4/4, a device Stuart also used effectively in 1999’s “Red,
receive a steel guitar makeover in this Red Wine And Cheatin’ Songs.” On the other hand, “A Matter
new collection. Of Time” is a real-deal country waltz, with some sweet fiddle
Daly is a longtime sideman to artists (courtesy of Kenny Lovelace), high lonesome vocal harmonies and
such as Travis Tritt, Patty Loveless, and swooping steel guitar.
Hank Williams, Jr. Throughout Rock “Hollywood Boogie” is a stomping guitar-driven instrumental,
Of Ages he also plays guitar, mandolin, loaded with great playing from Vaughan. The song closes much
bouzouki, and percussion. Steve too soon (at 1:32!), its final chord enveloped in the glorious sound
Holland is on drums, while bass duties of spring reverb.
are shared by Dow Tomlin and Doug The band unplugs for “Truck Driver’s Blues,” a weary tale of
Kahan. All are members of Local 257. life on the road; given the unstoppable punch of this track, one
Jeff Beck’s “Freeway Jam” maintains might have expected a rocking electric treatment, but this works
the loping shuffle of the original, even surprisingly well with acoustic guitar and mandolin carrying the
incorporating a few of Beck’s trademark load (no pun intended). “The Lonely Kind” is a lament for love
licks. Ricky Chancey solos first on blues gone wrong. Vaughan’s electric guitars add just the right touch of
harp, followed by Daly. His solo is nicely haunting melancholy.
capped by some pick-and-thumbnail Nashville, Volume 1 closes with Hank Williams’s “Picture From
harmonics, making his steel sound Life’s Other Side.” It’s stripped down to the barest essentials: Stuart,
remarkably Telecaster-like. his acoustic guitar, and his duet partner Hank III. There’s nothing
Beatles songs provide some of the smooth or pretty about this track — not the song itself, nor the
high points of this set. Daly’s acoustic performance — but Stuart and Williams find in that grittiness the
guitar and steel double the well-known very essence of the story.
intro to “Here Comes The Sun,” which – Kent Burnside continued on page 24

January–March 2013 23
 The Nashville Musician Reviews
continued from page 23

Jimmy Capps 7th And Union

At this point it might be At this point it might be easier to name all the artists Jimmy Capps hasn’t worked with
easier to name all the —his credits as a “Nashville Cat” would fill many pages. Yet with all that activity
he’s managed to produce two new recordings under his own name. (In addition to
artists Jimmy Capps hasn’t
7th And Union, Capps recently released In Time For Dinner in conjunction with RFD-TV,
worked with —his credits where he plays the sheriff on the Larry’s Country Diner program.)
as a Nashville Cat would fill The title track is a Hank Garland composition, with Hoot Hester on fiddle.
many pages. It’s the kind of jaunty midtempo workout that used to be featured regularly on
instrumental country records. Capps sticks to acoustic guitar, and Country Music
Hall Of Famer “Pig” Robbins holds down the piano chair.
Many of the songs here are wordless covers of vocal tunes, such as “I’m
Beginning To See The Light” and “The Nearness Of You,” but Capps also offers
some lovely original instrumentals. For “Sunday On The Natchez Trace” he employs
both electric and acoustic guitars; Hester is prominently featured on this track as
well. The electric guitar work on “Smoky Mountain Time” is outstanding—superbly
tasteful, with not a note wasted.
Michele Voan Capps’s vocals are featured on six of the songs. Her alto is well
suited to the material, mostly classic country-style tracks such as “Take Me As I Am”
and the Dottie Rambo inspirational chestnut “Promises, Promises.” She even tackles
Elton John’s “Don’t Let The Sun Go Down On Me,” but she’s strongest on the lighter
material such as “Blues For Dixie” and the western swing of “On The Alamo.”
All the players are Local 257 members. In addition to those listed, 7th And Union
features excellent performances from Billy Linneman on bass, Beegie Adair and Tim
Atwood on piano, and drummers Chris Brown, Gene Chrisman, and Harry Stinson.
– Kent Burnside

The Time Jumpers The Time Jumpers

The Time Jumpers’ new self-titled album is an amalgamation of all things country,
western, blues and swing. They’ve released live albums and DVDs in the past but this
is their debut studio effort, and worth the wait.
An 11-piece band that plays with the tightness of a small combo, the CD opens
with the speedy instrumental “Texoma Bound” featuring the impressive talents of
fiddlers Kenny Sears, Joe Spivey and Larry Franklin, guitarists “Ranger” Doug Green,
Andy Reiss, and Vince Gill, Paul Franklin on pedal steel, Dennis Crouch on bass, and
Jeff Taylor on accordion, whose solos seem to travel the world in just a few bars.
The songs are topnotch and perfectly delivered with sparkling arrangements
punctuating every vocal twist and turn of the band’s four unique lead singers. Kenny
Sears is the Jumpers’ onstage MC and his straight ahead country singing on the
self-penned “Nothing But The Blues” is ironic in all the right places, echoed by the
band’s tightly syncopated riffs. Kenny’s wife Dawn is the band’s secret weapon, and
sings with the power of Connie Smith and the heartbreak of Tammy Wynette. She
absolutely slays her feature tunes, including “So Far Apart” and “Someone Had to
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Teach You,” as well as singing great harmony along with Spivey and Taylor.
“Ranger” Doug Green, best known as front man for Riders In the Sky, brings
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“Yodel Blues.” Vince Gill, who joined the band a few years ago and is obviously
★ Envelopes ★ Banners content to be an ensemble player and occasional vocalist, sings lead on four songs,
★ Business Cards ★ Newsletters including the Jones-worthy country shuffle “The Woman of My Dreams,” “New
★ NCR Forms ★ Design Work Star Over Texas” and the soon-to-be classic “Three Sides To Every Story.”
★ Labels ★ Contract Books
★ Silk Screening ★ Folding Whether you’ve followed them for years during their Monday night residency
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country, that is. – Roy Montana TNM

24 THE NASHVILLE MUSICIAN

AP add page.indd 1 8/14/12 10:23 AM
 RMA Corner
Tom Wild

I want to open this column with a nod served me well and I’d like to expand the shot heard ‘round the Federation.
to our brother Bruce Bouton, who is on it a bit. This became the catalyst for sweeping
stepping down as president of RMA changes within AFM International. The
Nashville. I’ve known Bruce since my No one owns this thing net result of this has been improved ac-
early days in Nashville. In addition to We can all point to the situations and cessibility to AFM resources, new and
many great hours with him in the stu- the people who helped us “get there” enhanced revenue streams, more flex-
dio, I’ve had the privilege of serving in our journey. Some were around but ible scales and an increase in major
with him in RMA and on the executive for a moment, some remain lifelong agreements in film and TV. The AFM
board of Local 257. For years he has tire- friends. Hopefully we can all point agreement with Lionsgate, which in-
lessly given of his time, experience and to instances where we helped a fellow cludes the show “Nashville,” is one re-
resources. He has been, and continues brother or sister as well. Success in the cent example.
to be, a strong advocate in issues that business isn’t something we own, it is I view the time invested in all of this
concern all musicians. Thanks, Bruce. something we share in. I think the “ride as maintenance of the “ride.” Through
On a Sunday morning several years it for a while” part has ramifications my involvement in RMA I have learned
ago — my first day in town — I arrived well beyond the obvious timeline of a great deal of anecdotal recording his-
at Sound Emporium to see Buddy Em- career highlights. Much like a vehicle, tory, been privy to the philosophies and
mons overdubbing a solo project for my your “ride” requires fuel or input and views of many of my recording icons,
sole Nashville contact, (great) guitarist maintenance. Herein is the RMA con- and have had the opportunity to con-
Bucky Barrett. During that day I met nection and the crux of this column. tribute to the continuum of our amaz-
many established Nashville folks, in- A few years ago, the AFM went ing musical community.
cluding a successful commercial voice- through an intense but necessary evo- RMA has a proud, documented
over artist named Bob Sanders. Within lution. Here in Nashville, a group of history of advocacy for recording musi-
four days of landing here, I auditioned dedicated members of Local 257 and cians. If you are recording, no matter
for — and got — my first gig with an the RMA invested ten years of time and where you perceive yourself to be in
artist, and also did my first Nashville effort toward creating a more inclusive, the food chain, I would encourage you
session, all courtesy of Mr. Sanders. In flexible and progressive union. Reputa- get involved in RMA either as a mem-
the course of all this, Bob shared with tions and careers were put on the line ber, officer or executive board member.
me his perspective on longevity and the with no guarantee of the outcome. This This brings us to the last part of my
biz: “No one owns this thing, we ride it was solidarity at its core, culminating friend’s advice. Get involved — pass it on!
for a while — and we pass it on.” It has in the Local 257 election of 2008 — TNM

Do we have your current

email address?
Holiday
Closings
Call 615-244-9514 AFM Local 257
to make sure we have your correct information, will be closed for
or email [email protected]
President's Day,
Local 257 sends important advisories to members by email, including updates on our annual NAMM Feb. 18, 2013,
pass giveaway, and invitations to Local 257 events. Don't be left out of the loop! Notify the front desk
of any changes to your contact information, including phone number, address and beneficiary.
&
Call 615-244-9514 to make sure we have your correct information,
Good Friday,
or email [email protected] Mar. 29, 2013.
January–March 2013 25
Symphony Notes
By Laura Ross

"An orchestra is similar to a sports team; we

spend hours getting into peak condition to pull
off the fantastic amounts of music required in
this job."
When I last wrote, cellist Brad Mansell years and decades musicians spend in hours in practice – rehearsal – to refine
and I were heading in August to ICSOM’s practice, education and performance to each work so we can play together and step
50th anniversary conference in Chicago, be the best in our field is demoralizing. in to take over a phrase so seamlessly, that
Ill., where ICSOM was first conceived. This is especially so when added to a if you weren’t there watching it you’d have
The first ICSOM Conference was actually lockout, with the specter of an entire no idea it wasn’t one person or section
held in September 1962 in Cleveland, lifestyle trashed because management playing it all. In the end, it all comes down
Ohio. Since the conference, the October demands extreme wage cuts from 30 to about two hours and the hope that there
issue of International Musician featured to 50 percent, and hefty increases to will be no fumbles or mistakes.
articles and a cover photo from that health insurance premium payments. We are a family — a unit — and
historic conference; ICSOM’s December The final insult is the board and when someone new joins us it takes
issue of Senza Sordino will also include an management telling the press they believe more than a few services to become
extensive report on the event. college students can fill our places – despite part of that cohesive unit.
evidence to the contrary. In addition, the A recent rehearsal brought this home
Orchestras under attack salaries of the highest wage earners – music to me as we were playing a very familiar
For all the many changes and improvements director and executive director positions symphony that, surprisingly, was not
we had to celebrate, the conference also – if reduced at all (some are seeing quite working. There could have been
had to focus on the attacks many orchestras increases), are receiving no more than a many reasons for this — distance, sound
have been undergoing with some of five to six percent cut. Did I mention music onstage changing depending upon where
the most despicable tactics targeted at directors make anywhere from $250,000 you sit, watching the conductor versus
labor — lockouts, cancellation of health to over $1 million, and executive directors looking at the notes on the page, and
benefits, outright lying to the press about receive from $200,000 to $500,000 – plus trying to integrate what you are hearing
the issues, violating agreements — the list perks – in these orchestras? to how and when you need to play. It
goes on and on. An orchestra is similar to a sports takes a great deal of skill and familiarity
There is no doubt the economy has team; we spend hours getting into peak to make adjustments quickly and to
taken its toll on many businesses and condition to pull off the fantastic amounts blend, which is not something students
organizations, but belittling the hours, of music required in this job. We spend focus on since their entire college career
is spent training to be soloists – this is not
photo: Laura Ross for neophytes or the faint of heart. In this
case the rest of the orchestra had to sit
through multiple repetitions of the same
passage as the section got closer together
during the passage.
But boards and managers don’t want
to hear this; they just want to “change the
model.” Detractors who want to relieve
themselves of having to work so hard
to balance the budget every year claim
musicians are being lazy. Yes, it’s hard
work to balance a budget. It requires
commitment, and a love of the art form
has always been imperative. But clearly,
one big issue for orchestras under attack
is a change in board and management
philosophy – gone are the leaders who
support orchestras for the love of the
art – instead “bean counters,” bankers,
D. Wilson Ochoa, Brad Mansell and Judith Ablon present Paul Gunther with a check to support Min- and others who are used to the for-profit
nesota Orchestra musicians during their current lockout. model of doing business have taken over.
26 THE NASHVILLE MUSICIAN
 Symphony Notes
Management and boards seem of Stephen Paulus, including his Concerto Committee Chair Judith Ablon, along
to believe all you have to do is cut – for String Quartet and Orchestra – Three Places of with Brad Mansell and Wilson Ochoa,
people, expenses, wages, and benefits Enlightenment that featured NSO’s principal presented Gunther with a $3,000 check
– and that will make everything more strings – Jun Iwasaki, Carolyn Bailey, from the Nashville Symphony Players’
efficient. The problem is that orchestras, Daniel Reinker and Anthony LaMarchina. Assembly Fund.
by their very nature, cannot be efficient This same concert also gave our The orchestra was in the pit for
– it takes a specified number of people assistant principal strings the opportunity to both Madame Butterfly and the ballet
to play the repertoire, there are only so shine in Haydn’s Symphony No. 31 in D major, Sleeping Beauty, the final performance of
many seats in the auditorium, etc. – but “Hornsignal.” Erin Hall and Julia Tanner which was followed by our annual Day
still these board members think they really rose to the occasion as they performed of Music performance less than two
have the right answer, and are unwilling the extremely difficult solos in the second hours later. By December we will have
to believe otherwise. Someone recently and fourth movements. I was very proud of performed five Classical Series, three
pointed out that imposing a for-profit all my colleagues that weekend. Pops Series, two Pied Pipers, numerous
model on something designed to lose Recently, Principal Librarian D. Wilson Young Persons Concerts, a benefit for
money or break even doesn’t make Ochoa invited Minnesota Orchestra the Rescue Mission, three weeks of The
much sense – I couldn’t agree more. Principal Librarian Paul Gunther to fill Nutcracker, Handel’s Messiah — this year
The Atlanta Symphony and the in for Librarian Jennifer Goldberg, who the orchestra splits in the final week
Indianapolis Symphony were locked out was on leave. Gunther, who serves on the only, so many of us will perform both
recently for a number of weeks and finally ICSOM Governing Board and as moderator productions — and a number of special
settled for a reduced orchestra size with for ICSOM’s listserv Orchestra-L, was concerts and runouts.
weeks, salaries, and benefits cut from pleased to come to Nashville and said it Following a two-week vacation
the contract. The Chicago Symphony was interesting to “return to his roots” we’ll be jumping right back into the
was needlessly forced to strike —albeit doing things like marking bowings and thick of things with a most ambitious
briefly — and their financial situation is assembling music and folders. They say concert that includes Mozart’s Symphony
one of the best supported in the country. “timing is everything” — musicians voted No. 39 and Richard Strauss’ Till Eulenspiegel
Musicians of the Minnesota Orchestra to contribute to ICSOM’s Call to Action for and Don Juan – and that’s just the first
and St. Paul Chamber Orchestra were the musicians of the Minnesota Orchestra week. It’s an adventurous season; I hope
locked out because they were unwilling on Oct. 30, and that day Orchestra you’ll find time to join us. TNM

to allow for the total annihilation of their

contracts. ICSOM has already started Calls
to Action to support these orchestras,
and ICSOM will continue to be a positive
advocate, pointing out all the good things
orchestras do for their communities.
It is, however, sobering to realize that
it is in this atmosphere that we will be
negotiating a successor agreement for the SunTrust Classical Series Bank of America Pops Series
Nashville Symphony this coming spring. March 14-16 THE RED VIOLIN March 7-9 RANDY TRAVIS
March 28-30 LORD OF ‘THE RING’ April 4-6 PINK MARTINI
April 18-20 MOZART’S PIANO MASTERPIECE May 23-25 CIRQUE MUSICA
Performances, recording, and May 2-4 DEBUSSY & BRAHMS
orchestra committee actions May 9-11 MENDELSSOHN’S ‘ELIJAH’
The 2012-13 season began with May 30- June 1 TITANS
Mahler’s Symphony No. Eight – also known
Jazz Series Organ Recital
as the “Symphony of A Thousand,”
April 12 WAYNE SHORTER QUARTET WITH April 14 ORGAN RECITAL WITH
with two choirs, expanded wind and
THE NASHVILLE SYMPHONY CAMERON CARPENTER
brass sections, and nearly 10 soloists.
We had to use the stage extension Special Events
so everyone would fit! I can finally March 22 CHICK COREA & BELA FLECK
say I’ve performed all nine Mahler April 25 B.B. KING
symphonies, but I’m still waiting to
play his unfinished Symphony No. 10. The Ann & Monroe Carell Family Trust Pied Piper Series
We just completed two CDs of works April 13 UNDER THE SEA
by Roberto Sierra and Richard Danielpour
– the second, I believe, will be something
BUY TICKETS: Mention promo code
quite special as the repertoire choices and 615.687.6400 AFM for 10% off tickets!
performances were wonderful. We have NashvilleSymphony.org *some exclusions apply

now started on a new CD of the works

January–March 2013 27
Jazz & Blues Beat
By Austin Bealmear

"...as soon as I put on disc one, track one, I

was struck by a hip-shaking memory of some
great live fusion music from the early ‘70s."

Jeff Coffin & the Mu’tet Live! solo, and Coffin taking the final improv world music of all kinds given us by
Ear Up Records on “electrosax,” a synthesized tenor digital technology and the Internet,
Ordinarily I don’t care for reviews that sound that is way hipper than the old perceptions about music that is cool
start by comparing the music to some Varitone electric sax sound. Track four to listen to has certainly changed,
other artist. But as soon as I put on is a kind of space ballad with some very although earning an adequate living
disc one, track one, I was struck by a attractive horn lines and nice piano solo from creative music remains a challenge
hip-shaking memory of some great by Burbridge. for most musicians.
live fusion music from the early ‘70s. The second disc starts with another Coffin’s Duet CD is music without
The basic formula was to put a monster fusion rave-up called “The Mad Hatter category, made by two musicians who
drummer and bass man on stage, Rides Again” — maybe a reference to have “big ears” — as the beboppers
kick off a killer funk groove, dispense the “mad” time signature changes in used to say — and years of performing
with old-fashioned chord changes, the head — giving Coffin a good work experience across a vast range of genres.
and let everyone improvise over the out on alto. The whole band cooks Recorded on three successive
groove until the music reached a peak under another dynamic Burbridge keys nights, the music at first seems a
of emotional intensity. To also create solo before Bill Fanning takes over on telepathic and totally improvised set of
something that remained musically “space trumpet” – some electronic duets between drums, percussion and a
interesting required the best musicians, arrangement that gives Fanning a lower variety of reed instruments. Forget the
and this is exactly where Nashville brass sound, like the old bass trumpet screaming chaos of most 1960s “free
reedman Jeff Coffin begins. of Cy Touf — but allows him to rip off jazz.” These musical conversations are
The two-CD set of all originals a fast virtuoso solo. poetic and meditational — a gentle and
starts with “Tag,” which I assume is a Track two is a local favorite of intimate playground of sound — and
reference to a free improvisation where Coffin’s, “Move Your Rug,” that hits both players’ instrumental virtuosity
the players cue off of each other to vary a second line groove in 13/8 before creates enough detail and surprise to
the direction of the piece. Drummer Jeff settling into a more biped friendly four. bear repeated listening.
Sipe and electric bassist Felix Pastorius Track three, “L’Esperance” is fusion- Perhaps drawing inspiration from
are the two monsters who kick off the meets-Lawrence-of-Arabia where Coffin exotic music forms like the Hindustani
opening groove of “Tag” and remain on soprano and Fanning on muted system from Northern India, where the
the rhythm section throughout. trumpet develop fierce and exotic focus is often a virtuoso improvisation
Trumpeter Bill Fanning, now sounding solos before Pastorius and between a lead instrument and a
living in New England after a few years Coffin take over for a long rhythm jam. drummer, these duets sound so
in Nashville, is the other horn on all “Tall and Lanky” is the perfect title for thoughtful, I’d resist assuming they
tracks. Guests included Kofi Burbridge the loose-rhythm second-line set closer were totally spontaneous. It is more
on piano and flute, guitarist Mike Seal, where bass, keyboard, trumpet, tenor, likely they are based on a mood, a scale,
and keyboardist Chris Walters. The and drums all get their say before repeats a rhythm, or some idea arrived at by
music comes from three live sessions in of the catchy head end the parade. previous playing. Coffin further recalls
2010 and 2011. The sound is consistent the East by including in his reed arsenal
and well balanced although a couple Jeff Coffin and Jeff Sipe: Duet a nasally instrument that sounds like
of trumpet solos seem a bit under- Compass Records the Indian shehnai.
recorded to me. There was a time when music like this The album’s sound is clear enough
Track two is a slow groove ballad would be considered experimental and to hear even the faintest tapping on
called “Al’s Greens.” Track three is very risky in terms of record sales — Sipe’s cymbals. You can check out both
an up-tempo fusion jam with either called jazz just because no one knew projects (plus a brand new Mu’tet CD)
Coffin or Burbridge doing the flute what else to call it. With access to at jeffcoffin.com TNM

28 THE NASHVILLE MUSICIAN

 Final Notes
Binkley received his Master of Mu- member many a Wednesday afternoon,
sic degree from Peabody College and visiting with him before my regular voice
continued post-graduate studies at Juil- lesson with Phoebe, him watching the
liard School of Music in New York City. clock and letting her know it was time
He served in the U.S. Army Reserves in for the next student. "PhoeBEEEEE!" he
Georgia, where he established the Ft. would yell — except it was more like a
Benning, Ga., Infantry Chorus, which great crescendo from a masterful voice
became known as a showcase for visit- than anything that resembled a ‘yell.’ It
ing dignitaries. was stunning, and it was really beautiful.
In 1963 Binkley became a faculty He had a great sense of humor,
member at Donelson High School, where even up to his last days. A subtle lift of
he started one of the first madrigal groups the eyebrow and a twinkle in his eye
in the Southeast. In 1966 he was awarded could make me nearly fall on the floor
the Outstanding Young Music Educa-

Robert
with laughter, and he never lost that. I
tor award, and served as clinician at the feel fortunate to have known him, and
University of Tennessee workshops, and their whole family. He touched and en-

Binkley adjudicated undergraduate scholarship

auditions at the University of Cincinnati
riched a lot of people's lives.”
Binkley was preceded in death by

1934-2012
College-Conservatory of Music. his parents, Edwin Lee and Lillian Cart-
As a director and conductor, he er Binkley, and one sister, Juanita Ram-
worked on a Grammy-award winning al- zel. Survivors include his wife of 52
Nashville Musicians Association life mem- bum, Kathy Mattea’s Good News, directed the years, Phoebe Knox Binkley, one son,
ber Robert Binkley died Oct. 5, 2012, at his chorale on a National Geographic album, Edward Binkley of Waunakee, Wis.,
home following a long illness. Binkley was An American Christmas, and conducted I Hear one daughter, Carolyn Knox Binkley
a composer, musical director and tenor America Singing at Opryland USA. He was also of Nashville; one brother, Benjamin F.
vocal soloist who also played clarinet and the director of the Nashville Youth Sym- Binkley of Louisville, Ky., two grand-
saxophone. He joined AFM Local 257 in phony Chorus, and served for over a de- children; and extended family Jenny
1973, and was a soloist at various churches cade as choir director at City Road United Lynn Lane of Lebanon, Tenn.
in Nashville including St. George’s Epis- Methodist Church in Madison. A celebration of life was held Oct.
copal, Westminster Presbyterian, West Mattea, who studied voice for many 12 at Vine Street Christian Church. In
End United Methodist, First Lutheran, and years with Binkley’s wife Phoebe, spoke lieu of flowers, donations may be made
Vine Street Christian, where he served 25 about their friendship. “Bob had a huge to Alive Hospice in Nashville, Vine Street
years as choir director. voice! And a big personality. I can re- Christian Church, or a charity of choice.

Stevens, Reba McEntire, Garth Brooks, and Morris; two daughters, Kelly Vachon and
Farrell Morris countless others.
Morris also taught at the Blair
Trey Webber; and one sister, Martha Lynn
Harper; as well as several grandchildren
1938-2012 School of Music, and after his retire- and numerous close relatives and friends.
Life member Farrell Morris died at ment from the music business he In lieu of flowers, the family asks
home on Oct. 4, 2012 at age 74. Mor- worked as a visual artist, exhibiting that donations be sent to The Nashville
ris was a percussionist who performed at Nashville’s Local Color Gallery, and Jazz Workshop, 1319 Adams St., Nash-
with the Nashville Symphony Orchestra also in Las Vegas, Dallas and Louisville. ville, Tenn., 37208, or the American
and also had a lengthy career playing Morris was also an avid hockey fan. Cancer Society. A celebration of life was
sessions for many prominent artists. Bill Wiggins, Principal Timpanist of held Nov. 18 at the Rotunda of the Wy-
Born to the late Billy Price and Jo the Nashville Symphony Orchestra and att Center at Peabody College.
Francis in Waxahachie, Texas, Morris Associate Professor of Timpani and Per-
played with the Houston Symphony Or- cussion at the Blair School of Music of
chestra before moving to Nashville in Vanderbilt University, said “Farrell was
1965, and teaching at Peabody College. my inspiration, teacher, mentor, colleague
One of the most recorded percussionists in and friend. Without his influence I don't
history, his studio career spanned decades, believe that I would have had the wonder-
and included work with numerous artists ful life and career in music that I have en-
like Dan Fogelberg, Kris Kristofferson and joyed. I miss his presence beyond words.”
Mickey Newbury, as well as Johnny Cash, Morris was preceded in death by his
George Jones, Kenny Chesney, and J.J. Cale. brother, Bob Morris. Survivors include
His percussion playing also appears on re- his wife of 40 years, Bobbe Tice Mor-
cords by Neil Young, Jimmy Buffett, Ray ris; two sons, Tice Feldman and Leland continued on page 30
January–March 2013 29
 final notes
continued from page 29
A Funeral Is not they first gained notoriety after winning
Coeburn
a Day in a Lifetime. “Cope”
the Arthur Godfrey Talent Scouts Show in 1956.
For more than four decades Nunley — a

It is a Lifetime McDaniel
1935–2012
baritone — collaborated with the Jordan-
aires, who also won a Grammy in 2002;

in a Day. Coeburn “Cope” Mc-

Daniel, 84, died Oct.
14, 2012. The life
he became their arranger in 2000.
Nunley worked as a vocalist from
the ‘50s until his retirement in 2010,
member of Nashville and recorded with hundreds of artists
Musicians Association played several in- over the decades of his career, including
struments, and joined the local in 1971. Willie Nelson, Jim Reeves, Roy Orbison,
He was also a member of the South Ha- Dolly Parton, Mandy Barnett, and Glee’s
ven Baptist Church. Kristin Chenoweth. He also worked on
He was preceded in death by his many commercials, movie and television
first wife, Shirley McDaniel. Survivors soundtracks and appeared on numerous
include his wife, Irene Page-McDaniel; national television shows and specials.
two sons, Shawn and Coebie McDan- Nunley’s friend and fellow singer Jim
iel, one brother, Derrell McDaniel; five Ferguson commented on his contribu-
grandchildren, ten great-grandchildren, tion to the Nashville music community.
and six great-great-grandchildren. “Louis contributed for years through his
Funeral services were held Oct. 17 membership in Local 257 of the Ameri-
at Robertson County Funeral Home, can Federation of Musicians, but my ex-
Our country music stars with burial at Robertson County Me- perience with him was through AFTRA.
have fans visiting from morial Gardens. He joined the American Federation of
Television and Radio Artists Feb. 4, 1958,
all over the world. Louis D. Nunley, Sr. and soon petitioned AFTRA National to
CALL (615) 823-5010 TODAY 1931–2012 grant a charter establishing a Nashville
Louis D. Nunley, Sr., died Oct. 26, 2012. Local. That charter was granted on Nov.
To reserve your place with the stars. He was a life member of the Nashville 6, 1961. Louis served the Nashville AF-
Musicians Association, and first joined TRA local as its president and spent many
the local in 1968. Nunley was an ar- more years on its board of directors. He
ranger and vocalist, and a member of also spent 25 years on the AFTRA Nation-
both The Anita Kerr Quartet and The Jorda- al Board of Directors, including a stint as
naires, some of the most recorded voic- a national vice president.
es in music, and a large part of what Through the years Louis mentored
became known as The Nashville Sound. many young performers who were new
Nunley was born in Sikeston, Mo., to Nashville’s music scene, including
to Ada Alberta Eaker and Alvin Nunley, me. He never exhibited any air of su-
Sr. In 1948 he moved to Nashville to at- periority, though he certainly was su-
HArpeTH HiLLs tend David Lipscomb College, where he perior to most of us as a studio singer
Memory Gardens Funeral Home graduated in 1952 with a degree in math- and arranger. He quietly instilled in us
& Cremation Center ematics. He made his first commercial the value of our contributions and the
recordings here in 1949. The Anita Kerr expectation of fair compensation for
HenDersOnviLLe
Memory Gardens & Funeral Home Quartet won two Grammys in 1965; our work. Louis held high standards for

wesT HArpeTH
Funeral Home & Crematory
CresTview
Funeral Home, Memory Gardens & Cremation
rOberTsOn COunTY
Memorial Gardens
JOeLTOn HiLLs
Memory Gardens
sumner Louis Nunley (far right) pictured with the
Memorial Gardens
Anita Kerr Quartet and Arthur Godfrey.

30 THE NASHVILLE MUSICIAN

 Final Notes
quality and dedication to the music and Arab,” and many others. John Lane Denson III
the music business that he loved dearly. Ackerman was a member of the 1923–2012
We will all miss him very much.” Church of Christ, and was also active in
In addition to his parents, Nunley local politics and law enforcement. He
was preceded in death by one sister, Ver- retired as a deputy sheriff of Davidson
na Nunley McKee, and one brother, Al- County. His son Trey said that after two
vin Nunley, Jr. Survivors include his wife careers that spanned several decades,
of 61 years, Mary Ann Fluty Nunley; two “Willie truly lived out his belief that, ‘ev-
sons, Louis D. Nunley, Jr., and Lee Th- ery drummer ought to drive a police car.’”
anning Nunley; one sister, Jean Nunley He was preceded in death by his
Dennison; and numerous nieces, neph- parents and one sister, Emma Mai Miller.
ews, great-nieces and great-nephews. Survivors include three sisters, Helen De-
A celebration of life service was monbreun, Sammie Guthrie, and Frankie
held Nov. 1 at Woodlawn Funeral Corinne Boyte of Nashville; one brother,
Home and officiated by Amanda Chap- John Robert Ackerman of Ashville, N.C.,
pell Armstrong, with interment in two daughters, Kelly Ackerman of Boise, John Lane Denson III, 89, an Episcopal
Woodlawn Memorial Park. Idaho, and Angela Pardaen of San Anto- clergyman, local writer and trumpet
nio, Texas; one son, Trey Ackerman, of player, died Nov. 21, 2012. He served
Willie Ackerman Nashville; and seven grandchildren. in the Navy as an aviator during World
1939–2012 Funeral services were held Dec. 17 at War II, and held two degrees from the
Marshall-Donnelly-Combs Funeral Home University of Texas. He was a member
with burial at Springhill Cemetery. of the founding class of the Episcopal
Theological Seminary of the Southwest.
William “Bill” Carlisle Jr. Denson came to Nashville as rec-
1942–2012 tor of Christ Episcopal Church in 1965,
where he founded the Storefront Min-
istry, later known as the Campus for
Human Development. He also served
as rector of St. John’s Episcopal Church
in Old Hickory, and was also direc-
tor of development for the Vanderbilt
School of Engineering. Denson served
as convener for the Diocese of Tennes-
see Clericus, chair of the Diocesan Co-
Drummer Willie Ackerman, age 73, alition on Alcoholism and Other Drugs,
died Dec. 13, 2012. A lifelong resident among many others. After his retire-
of Nashville, he was born May 1, 1939 ment he continued to serve as an in-
to Sam and Corinne Ackerman. He was terim chaplain and rector at other local
a life member of AFM Local 257 and churches in the area.
a member of the executive board for The lifelong trumpet player joined
many years. the Nashville Musicians Association in
He became a professional musician William “Bill” Carlisle Jr., 70, of Lou- 1989, and was a founding member of
at 17, and joined the Nashville Musi- isville, Ky., died Dec. 1, 2012. He was a the Establishment, a Nashville 1940s-
cians Association in 1959. He was a staff guitar and banjo player, and in the ‘60s style jazz band, and was a member of
drummer for the Grand Ole Opry, RCA became a member of the Carlisles, his fa- the Monday Night Jazz Band.
Studios, and Hee Haw and recorded ther “Jumpin’” Bill’s successful band. The Denson was preceded in death by
with many artists including Patsy Cline, Carlisles were frequent performers on the a son, William Brewster, his brother,
Loretta Lynn, George Jones, Marty Rob- Grand Ole Opry, and toured as well. Dr. Thomas Charles Denson, and one
bins, Willie Nelson, Waylon Jennings, Carlisle joined the Nashville Musi- grandson. Survivors include his wife,
Ray Price, Louis Armstrong, Faron cians Association in 1963, and was a life Caroline Stark, two sons, John Lane IV
Young, The Osborne Brothers, Chet At- member of the local. and Scott Thomas, and one daughter,
kins, Jerry Reed, Roger Miller, Ray Ste- Survivors include his wife, Merry Ann Milstead; and six grandchildren.
vens, Charlie Pride and Charlie McCoy. June, two sons, Bill Carlisle III and Clif- A requiem eucharist was celebrat-
Ackerman played on numerous hit ford Spence Carlisle, and one daughter, ed Nov. 26 at Christ Church Cathedral.
records, such as “El Paso,” “Just Walk Robin Ott. Services were held at the In lieu of memorials, the family asks
On By,” “Amos Moses,” “The Grand Madison Church of Christ in Nashville that friends extend an act of kindness to
Tour,” “Wings of a Dove,” “Ahab the Dec. 11. someone in need. TNM

January–March 2013 31
 Local 257 members:
New recording scales
Please check to see that your
funeral fund in effect Jan. 13, 2013
beneficiary
The following scales have increased for 2013. Health & Welfare (H&W) payment
is listed correctly,
will remain $24.00 for the 1st session of the day. Each additional session the same
and up to date. day is $19.00. Pension amount will remain at 11.99 percent of scale wages only.

We can't stress the MASTER SESSION (3 hours)

importance of this enough. Scale Wages H&W Check Amounts per Musician Pension (per session)
Leader 786.86 $24.00 $810.86 (1 session) $1616.72 (2) $94.34
Sidemusician 393.43 $24.00 $417.43 (1 session) $829.86 (2) $47.17
Your loved ones
are counting on you. MASTER – SPECIAL SESSION (1.5 hours)
Scale Wages H&W Check Amounts per Musician Pension (per session)
Leader $519.34 $24.00 $543.34 (1 session) $1081.68 (2) $62.27
Take a moment and ask the Sidemusician $259.67 $24.00 $283.67 (1 session) $562.34 (2) $31.13
front desk to verify your LOW BUDGET MASTER SESSION (3 hours)
funeral benefit beneficiary Scale Wages H&W Check Amounts per Musician Pension (per session)
information. Leader $442.04 $24.00 $466.04 (1 session) $927.08 (2) $53.00
Sidemusician $221.02 $24.00 $245.02 (1 session) $485.04 (2) $26.50

Please also check to see that

Please refer to the Local 257 website www.nashvillemusicians.org for additional
we have your rates changes for overtime, doubles and premium amounts. Limited Pressing and
correct email address. Demo rates will remain the same.

Next
Membership
In Memoriam
Meeting
The officers, staff and members of Local 257 extend our deepest sympathies to the families and friends of
Tuesday, February 26, 2013
our members who have recently passed away. You are in our thoughts, hearts and prayers.
George Cooper Rehearsal Hall
Name Born Joined Died Life Member
Doors open at 5:30 p.m. Robert E Binkley 03/30/1934 04/02/1973 10/05/2012 Y
Meeting starts at 6:00 p.m. William Toliver Carlisle, Jr 08/09/1942 07/02/1963 12/01/2012 Y
John Lane Denson 02/04/1923 11/17/1989 11/21/2012
Coeburn McDaniel 11/15/1935 05/24/1971 10/14/2012 Y
Don't forget to like us on Farrell Morris 06/17/1938 04/29/1965 10/04/2012 Y
Facebook and Twitter.
Search for Louis D Nunley 10/15/1931 06/24/1968 10/26/2012 Y
Nashville Musicians Association Arthur M Oliver 03/29/1925 06/30/1993 11/05/2012 Y
William Paul Ackerman 05/01/1939 07/22/1959 12/14/2012 Y

32 THE NASHVILLE MUSICIAN

 Member Status
New members Arnold Samuel Gottlieb Brooke Waggoner Odum David Emery Webb
8 Ball Aitken BAS TBA EUP (B-Was Touring, Inc) BAS VOC
(Gregory Andrew Aitken) 718 Thompson Ln Ste 108-310 PIA VOC 809 Stonebrook Blvd
VOC GTR Nashville, TN 37204 4500 Wyoming Ave Nolensville, TN 37135
907 Goodbar Dr Cell (917) 575-5435 Nashville, TN 37209 Hm (615)-308-9893
Nashville, TN 37217 Cell (615) 497-5175
Cell (424) 644-5382 Adrienne Harmon Lewis Bryant Wells
Hm (615) 360-9591 (Adrienne Watkinson) Marco Pinna PIA KEY
VLN GTR 2000 Old Greenbrier Pk
Benjamin Brent Anderson 372 Pascoe Ave. Apt. #1 2609 Erin Lane Greenbrier, TN 37073
(Brent Anderson) Bowling Green, KY 42101 Nashville, TN 37221 Cell (828) 485-6749
C/O Decosimo/Vaden Hm (207) 522-9949 Cell (615) 618-3695
1600 Division St Suite 225 Cory Manning Younts
Nashville, TN 37203 Josh Todd Hawkins Peter Michealson Pisarczyk MDN PIA GTR HRM BJO DRM
PIA GTR SYN (Peter Keys) 206 51st Ave N
Margrethe Bjoerklund 7952 Poplar Creek Rd PIA ORG SYN BAS DRM GTR Nashville, TN 37209
(Maggie Borklund) Nashville, TN 37221 5129 Lana Renee Ct Cell (615) 504-0368
PST GTR KEY Cell (865) 640-4920 Hermitage, TN 37076
1611 42nd Ave E Cell (415) 328-2609 Michael James Zimmerman
Seattle, WA 98112 Phillip Lee Hines (Mike Zimmerman)
Cell (452)-145-1973 (Lee Hines) Tom Richards DRM
Hm (452)-145-1973 PRC DRM CGA DJE (Tom Richards) 7433 Harrow Drive
1329 Quail Valley Rd BAS Nashville, TN 37221
Shawn P. Byrne Nashville, TN 37214 329 Ford Rd Cell (615) 519-0621
GTR VOC Cell (304) 553-3158 Howell, NJ 07731-2425
125 Lea Ave Cell (732) 966-3385 Hm (732) Reinstated
Nashville, TN 37210 Michael Patrick Holland 363-1988 Vincent R Ciesielski
Cell (615) 480-4767 PRC XYL TMP Melvin Clifford Downs, III
3133-C Long Blvd. Cale Martin Richardson Joseph Halterman, Jr
Adam Charles Malcolm Clark Nashville, TN 37203 GTR KEY VOC BAS Jason Howard Anderson
MDN GTR Cell (316) 300-5045 1305 Texas Oaks Cove Paul Jefferson Jaqua
C/O Fbmm Austin, TX 78748 Leslie Lee Jewell
PO Box 340020 Kenny Wayne Hoye Cell (806) 777-6252 Gail Rudisill Johnson
Nashville, TN 37203-0020 (Ken Hoye) Craig Dwayne Koons
ORG KEY ACC Lillie Mae Rische Sonny Lemaire
Ashley Ira Jarvis Clark 2464 Coach Whip Terrace FDL GTR MDN VOC Blair Kent Masters
FDL VOC MDN GTR Clearwater, FL 33765 300 Elmington Ave Brian Keith Nutter
C/O Fbmm Cell (727) 458-7797 Nashville, TN 37205 Justin Clay Perry
PO Box 340020 Hm (727) 726-1202 Cell (256) 616-7480 G Leigh Reynolds
Nashville, TN 37203-0020 Jimmie Rodgers Snow
Cell (310) 961-0210 Heather Dawn Humphrey Steve Romero Gary Lee Tussing
CEL DRM SAX Darrin Lee Vincent
Austin Joseph Clark 6711 Burlington Ave N 8536 E Tiger Lane Michael Scott Webb
GTR DBR St Petersburg, FL 33710 Lexington, IN 47138 Dan Edward Williams
C/O Fbmm Cell (727) 512-6201 Cell (812) 599-7669 Hm (812)
PO Box 340020 Hm (727) 381-2147 794-1170 Resigned
Nashville, TN 37203-0020 Bird Aitken
Cell (615) 870-9314 Jeremiah Wayne Johnson Thomas Schneider Kelly E. Cornell
GTR VOC BAS GTR PIA James Grosjean
Jamie Dailey 1310 Promise Land Rd 6937 Highland Park Dr Michael J Johnson
5721 Edmondson Pike Unit 402 Charlotte, TN 37036 Nashville, TN 37205 Michael R Lancaster
Nashville, TN 37211 Cell (615) 403-3583 Cell (210) 875-2225 Lynette Mayfield
Holly E. Mulcahy
Ian William Folsom Peter B Keeble Samantha Jo Serum Michael James Nielsen
PRC DRM PRC VOC John Darren Osborn
1606 Hwy 76 P O Box 864 1310 Promise Land Rd Benjamin Franklin Polk
Adel, GA 31620 Sewanee, TN 37375 Charlotte, TN 37036 Jack Earl Ritzman , III
Hm (229) 300-1739 Cell (931) 691-1088 Hm (931) Cell (615) 504-3299 Patricia Christina Rudisill
598-0838 Daniel Jacob Schwartz
Nick R Forchione David Patrick Stroud Jocelyn J Sprouse
DRM GTR PIA Kathryn Ladner DRM Michael Vargo
533 Church St #128 PIC FLT 500 Paragon Mills Rd. #N5 Keith A. Zebroski
Nashville, TN 37219 Apt C-8 Nashville, TN 37211 Jeanette M Zyko
Cell (323) 717-6161 Hm (615) 112 Acklen Park Dr. Cell (773) 556-5850
686-6498 Nashville, TN 37203 Expelled
Jesse Tucker
Hm (206) 719-1856 Jennifer Leigh Griffith
GTR BAS VOC SAX
Mark Oliverius
160 Plum Nelly Circle
Brentwood, TN 37027
Hm (615) 618-5985 January–March 2013 33
Do not work for
The “Do Not Work For” list exists to warn our Katana Productions/Duwayne “Dada” Mills Randy Hatchett
members, other musicians and the general public Kenny Lamb Highland Music Publishing
about employers who, according to our records, King Craft, Inc./Michael King Honey Tree Prod.
owe players money and/or pension, have failed Ginger Lewis Engelbert Humperdinck
to sign the appropriate AFM signatory docu- Line Drive Music In Light Records/Rick Lloyd
ments required to make the appropriate pension Lyrically Correct Music Group/Jeff Vice Little Red Hen Records/Arjana Olson
contribution, or are soliciting union members to MCK Publishing/Rusty Tabor Malaco
do non-union work. MPCA Recordings/John Titta Pete Martinez
Mark McGuinn Maverick Management Group
TOP OFFENDERS LIST Marty McIntosh Mike Ward Music (pension/demo signature)
RecordingMusicians.com and Nashvillemu- MS Entertainment/Michael Scott Joseph McClelland
sicscoring.com - Alan and Cathy Umstead are Matchbox Entertainment/Dwight Baker Tim McDonald
soliciting non-union recording work through this Multi-Media Joe Meyers
website and elsewhere. Do not work for them un- Steve Nickell Missionary Music
der any circumstances without an AFM contract. One Shot Management Jason Morales (pension/demo signature)
Anthony Paul Company O Street Mansion
The following are employers who owe musi- Quarterback/G Force Music/Doug Anderson OTB Publishing (pension/demo signature)
cians large amounts of money and have thus far RLS Records-Nashville/Ronald Stone Tebey Ottoh
refused to fulfill their contractual obligations to Region One Records Reach Ministries
Local 257 musicians. RichDor Music/Keith Brown Ride N High Records
River County Band/SVC Entertainment (unpaid Ronnie Palmer
Positive Movement/Tommy Sims (multiple unpaid demo conversion/pension) Barry Preston Smith
contracts – 2007 CeCe Winans project) Robbins Nashville Jason Sturgeon Music
Terry K. Johnson/ 1720 Entertainment (unpaid Round Robin/Jim Pierce (unpaid contract – mak- Nathan Thompson
contracts/unauthorized sales - Jamie O’Neal ing payments) Veritas Music/Jody Spence
project) Roxanne Entertainment Roy Webb
Beautiful Monkey/JAB Country/Josh Gracin Shaunna Songs/Shaunna Bolton Write It Lefty/Billy Davis
Eric Legg (multiple unpaid contracts) Shauna Lynn Michael Whalen
Ray Vega/Casa Vega Shear Luck Productions/Wayd Battle
Quarterback/G Force/Doug Anderson Shy Blakeman AFM NON-SIGNATORY PHONO LIST
Rust Records/Ken Cooper (unpaid contracts and Singing Honey Tree We do not have signatory paperwork from the
pension) Sleepy Town/David Lowe following employers — pension may have been
J.A.M. Jimmy Adams Media (multiple unpaid Small Time Productions, Inc./Randy Boudreaux paid in some cases, but cannot be credited to the
contracts/pension. Made partial payment) Sound Resources Prod./Zach Runquist proper musicians without a signatory agreement
Revelator/Gregg Brown (multiple bounced checks/ Mark Spiro in place. If you can provide us with current contact
unpaid contracts) Spangle 3/Brien Fisher info for these people, we will make sure you get
Sterling Production Mgmt/Traci Sterling Bishir your proper pension contribution for your work.
UNPAID CONTRACTS AND PENSION Tin Ear (pension/demo signature)
Accurate Strategies, Inc. Tough Records/Greg Pearce (making payments) 604 Records
Adagio Music/Sam Ocampo Adam D. Tucker Heaven Productions
Wayd Battle/Shear Luck Eddie Wenrick Hi Octane Records
Big Three Entertainment Stonebridge Station Entertainment
Bottled Lightning/Woody Bradshaw UNPAID PENSION ONLY Straight Shooter Music
Bull Rush, Inc/Cowboy Troy (unpaid demo up- Audio RX
grade – making payments) Jimmy Collins
Cat Creek Publishing Comsource Media/Tommy Holland
Chez Musical/Sanchez Harley Conchita Leeflang/Chris Sevier
Compass Productions - Alan Phillips and David Ricky D. Cook
Schneiderman Coyote Ugly/Jeff Myers
Daddio Prod./Jim Pierce (making payments) Data Aquisition Corp./Eric Prestidge
Summer Dunaway Derrin Heroldt
Field Entertainment Group/Joe Field FJH Enterprises
Goldenvine Prod./Harrison Freeman First Tribe Media
Golden Vine/Darrell Freeman Matthew Flinchum dba Resilient
Greg Holland Jimmy Fohn Music
Home Records/David Vowell Rebecca Frederick
Hot Skillet/Lee Gibson (unpaid contract/limited Goofy Footed
pressing signature) Gospocentric
Mark Hybner Tony Graham
Kyle Jacobs Jeffrey Green/Cahernzcole House

34 THE NASHVILLE MUSICIAN

January–March 2013 35
36 THE NASHVILLE MUSICIAN