We have received several emails and Facebook postings supporting this year’s inductee nominations. The AMEHOF Advisory Board membership has just begun the voting process which will continue for the next month. In an effort to allow a platform for comments while maintaining our neutrality on the subject, we have created this blog.
Thank you for your interest in and support of AMEHOF.
To AMEHOF Advisory Board Members – an endorsement for nominee, Virg Warner:
If you know country music in Arizona, you know Virg Warner, or at least know “of” him. He is what Arizona music legends are made of.
Virg was hired by another local legend, Bob Sikora, to open Mr. Lucky’s as the lead singer in the 1960′s. The band was known as Virg Warner and the Rogues, and he remained the lead singer for 11 years, working 6 nights a week. He was a large part of the early success of Mr. Lucky’s, and many Arizona musicians have played in his bands.
Lee Hazlewood quickly discovered this talented singer/songwriter and signed him to a recording contract to his record label, LHI. Virg was the first artist signed to the label, and together they achieved 5 charted hits, the first one being the memorable “Here We Go Again.” They also released a duet album with Virg and Suzi Jane Hokum. Virg then was signed by Capitol Records in the early 70′s and recorded an album, as well as 8 singles. In the mid 70′s, Virg joined forces with another Arizona music legend, Marty Mitchell, who had just disbanded one of his most popular groups, Young Country, and together they formed the band “Wild Honey.” Ron Corbin rounded out the trio, and they toured the country for a few years, with great success.
In the late 70′s, Virg moved to Nashville and started writing. While there, he had 18 of his songs recorded by other artists including Merle Haggard, Moe Bandy, Jack Greene and Jeannie Seely. He wrote the title song for Moe Bandy’s album, “I Still Love You in the Same Ol’ Way,” as well as several other cuts on the album, including the popular “Like Some Good Ol’ Boy.” Virg co-wrote with many great songwriters in Nashville and was signed to a publishing deal with Ray Baker which lasted for 15 years. He was the recognizable voice of the narrator in one of Burt Reynolds’ first movies, Sam Whiskey. Mae Axton devoted an entire chapter to Virg in her well-known book, “Country Singers As I Know ‘Em.”
Virg has always remained active in the Arizona music scene, and has inspired many country singers and songwriters. He is getting ready to go back into the studio to record an album, and has recently joined up again with Marty Mitchell and Ron Corbin, along with Ronnie Derossett. If you’re lucky, you can catch them playing around the Valley occasionally. He performed at the 2007 Arizona Music and Entertainment Hall of Fame Induction Ceremony at the Dodge Theatre, honoring the club he made so popular, Mr. Lucky’s.
I would like to heartily endorse the nomination of Mr. Grant Wolf to be inducted into the AMEHOF. I can’t think of any person more deserving of this honor. Grant Wolf was among the most highly significant, and most influential music educators in Arizona’s history. Many of Grant’s former students are now professional musicians and music educators, working both in Arizona and many other states. Grant was admired far and wide for his ability to inspire young performers, and to draw out amazing musical performances from his students. Grant Wolf’s illustrious teaching career at Mesa Community College spanned 35 years. In addition to his role as an educator, Grant directed the the Valley Big Band
in weekly public performances for more than 15 years. That powerful ensemble was one of the most important musical groups ever presented on the local Phoenix music scene. Besides his Valley Big Band, Grant regularly presented his wonderful music ensembles from Mesa Community College for three decades (from the early 1970’s until his death in 2002). The community
was much enriched as a result of Grant’s musical offerings. For three decades Grant Wolf was a omnipresent major force in presenting live jazz music around the Phoenix area. Grant’s 35 year career of teaching music at Mesa Community College provided an important training ground for thousands of young Arizona musicians. Grant’s bands regularly performed in the public arena, where they entertained and enriched the community, and provided valuable playing opportunities for established musicians and younger generations of Arizona musicians.
For many years, Grant’s Monday night ‘Valley Big Band’ held forth weekly at clubs such as Chuy’s Choo Choo, The Varsity Inn, Chuys 2, and the L.P. Club. These many years of regular Monday performances were invaluable to both the musicians involved, and to the Phoenix/Tempe/Mesa audiences who were hungry for real jazz music in a city where good jazz music is a rare commodity.
Even though Grant Wolf died in 2002, his influence as an educator is still strongly felt to this day. Quite a few of Grant’s former students are now professional musicians in Arizona, Nashville, Los Angeles, New York City, and elsewhere. Those former students work professionally in the fields of jazz, pop, blues, and country music. Grant’s music education approach was all encompassing, as he encouraged the mastery of one’s instrument and musical versatility, along with a solid musical concept and foundation, so that the serious student would be prepared to perform proficiently in many musical styles and settings. As just one example of the wide ranging capabilities of Grant’s students, Grammy Award winning singer/songwriter Lyle Lovett’s original touring and recording band featured
five of Grant Wolf’s students! Those of Grant’s former students who are now music educators themselves carry forward Grant’s legacy of bringing the joy of music to new generations of children.
For those who don’t know me, I am a professional saxophonist/woodwind artist/studio musician who has lived in Los Angeles for the last 22 years.
Previously, I lived in the Phoenix area from 1979 to 1988, where I studied music at M.C.C., and later at A.S.U.
I have toured and recorded with Lyle Lovett for 22 years, and I’ve also performed with and/or recorded with the Brian Setzer Orchestra, The Fabulous Thunderbirds, Mel Torme, George Strait, Clare Fischer, Kid Ramos, Lou Rawls, Tony Bennett, and I’ve played on many TV and movie soundtracks. During the years that I lived in Phoenix, I worked in the bands of Francine Reed, Janiva Magness, Margo Reed, Carmella Ramirez, the Charles Lewis Jazz Quintet, Joey Sellers’ Tempe Jazz Workshop, and Grant Wolf’s Valley Big Band, to name a few. I know that the various things that I have been able to do in the music world have been possible only because of the excellent training that I was blessed to receive from great teachers like Grant Wolf.
Undoubtedly, there are still many people in the Phoenix area who remember those glorious Monday nights of jazz with Grant’s Valley Big Band. Fifteen plus years of roaring Monday night big band jazz music in Tempe! That was just one of Grant Wolf’s many gifts to the community. The Valley Big Band was
comprised of not only students from Mesa College and professional musicians, but it also included working adults who were part time musicians. The Valley Big Band included in its ranks a doctor, a biologist, teachers, and people from other fields. Grant believed in including diverse members of the community so that those folks would also have a regular outlet for their musicianship. The Valley Big Band provided a memorable and invaluable opportunity for young musicians, and also for the more experienced players to regularly perform in public. Grant also took the Valley Big Band to the Sedona On The Rocks Jazz Festival. If memory serves correctly, we played at the very first Jazz On The Rocks Festival.
Grant Wolf was well known throughout the music world as a very innovative music educator. Grant held the respect of many top nationally known musicians in the field of jazz music. Over the years, Grant brought in an amazing array of world class artists to conduct clinics and play concerts at Mesa Comm. College. Some of the musical guests whom Grant brought in were: Lew Tabackin, Gary Foster, Clare Fischer, Pete Christlieb, Bill Watrous, Matrix IX, David Liebman, Frank Foster, Frank Wess, Randy Brecker, Eliane Elias, Bud Brisbois, Joanne Brackeen, Eric Kloss, Supersax, Don Menza, Jon Faddis, Ladd McIntosh, Bruce Fowler, Sal Nestico, Joe Pass, Charlie Rouse, and Seawind. Grant also featured some of these guest stars with the Valley Big Band at Chuys and other locations around town. For Grant to be able to bring so many of the top names in the jazz world to an out-of-the-way place like Mesa, AZ was truly amazing. The local musical community was certainly enriched by the presence of all this talent that Grant brought to the area. Those artists came to Mesa becauseof their friendships with Grant Wolf, and out of their respect for the amazing things he was doing at M.C.C.. The students at M.C.C. were given a great opportunity to listen to, learn from, and interact with all of these great artists. Grant also brought in local musicians such as Brian Bromberg, Charles Lewis & Alice Tatum, Lewis Nash, Chuck Marohnic, and Prince Shell to play concerts for the students and conduct clinics.
Grant Wolf was a very fine musician himself. He played the Baritone Saxophone, Bass Clarinet, Clarinet, Flute, and Bassoon when backing up visiting stars such as Natalie Cole, The Four Tops, Marilyn McCoo, Lou Rawls, and the “Damn Yankees” theater show, to name just a few of the acts with which Grant performed. For a time in the 1980’s, Grant played soprano saxophone in a well received jazz duo with pianist Bob Ravenscroft. Grant was a very amazing and forceful conductor. In the course of his duties at the college, Grant also shared in the conducting duties for the symphonic band groups. Grant’s father was the equally legendary Dr. Don Wolf, who was director of bands at N.A.U for many years. Grant inherited his father’s commanding expertise as a conductor, and Grant was equally at home in the world of classical music.
Besides his long tenure at Mesa Community College, Grant also taught summers for many years at the NAU Summer Music Camps where he taught junior high and high school age kids. Grant could, and did, teach anyone. His private lesson students included young kids, all the way up to retired senior citizens. It was amazing what Grant could do with high school musicians. He inspired youngsters to play with soul, and with a hip swinging feeling that you rarely hear from musicians of that age group. Grant’s jazz band concerts of his high school groups at the NAU Summer Music Camps were always highly anticipated. I first heard a Grant Wolf led band of high school kids when I was 16 years of age. I was amazed at the precision and swinging feeling of the ensemble work, and by the wonderful improvised solos that the kids were able to play. The following year, I was a member of Grant’s summer jazz band at NAU. Participating in Grant’s band of high school musicians was a life changing experience for me. Among many other highlights, Grant had us experiment with playing some totally improvised free-form music. It was heady stuff for 16 and 17 year old kids !
Grant led award winning jazz bands at Mesa Comm. College for many years. I was a member of the 1981 M.C.C. Jazz band which won the Playboy Jazz Festival College Band Competition that year. Thanks to Grant’s leadership and inspiration, we beat out all the much larger, much better funded California four year Universities in that competition. Suddenly, every major music school in the Western United States was made aware that little Mesa Community College in Arizona possessed a world class music program. Our prize for winning that competition was to open up the 1981 Playboy Jazz Festival at the Hollywood Bowl. Our dressing room was right across the hall from the great ‘Weather Report’ band!! Opening the Playboy Jazz Festival at the Hollywood Bowl in front of Stan Getz, Weather Report, Count Basie, and Art Blakey with the Marsalis brothers was an amazing experience for all of us. Even though A.S.U. always had much larger amounts of music scholarship money to dole out, most of the creative young Valley musicians would choose to attend M.C.C. for a few years to learn from Grant Wolf and Don Bothwell,
and the other fine teachers at M.C.C. To play in a band at M.C.C meant participating in truly meaningful, and deeply felt musical experiences. Some other college bands merely went through the motions and broke no new musical ground, but not at M.C.C. The Jazz bands at Mesa College were some of the most innovative college music ensembles in the whole country. Some students, like myself, moved to AZ from out of state because of the high quality of the music program at M.C.C. Don Bothwell was the director of the band program, and was the drums & percussion teacher. Don Bothwell is another legendary music educator who should receive more recognition. Don’s drum students are now some of the very finest drummers working across the
USA. No matter what level of talent their students possessed in a
particular school year, Grant and Don always got the kids to really express themselves musically, and play with vigor and commitment.
Grant Wolf was a very caring man. Grant was always interested in the well being of each and every student. Many students sought out Grant’s advice and guidance. Grant was much loved and respected by his students. He was not only a great teacher, but he was a great friend to many, many people. Grant advised students to obtain a diverse and broad based education, and he encouraged students to also take courses in the fields such as psychology, philosophy, and other areas that would open up the minds of young people and expand their world view.
When I started touring full time with Lyle Lovett in 1988, many of the band members were alumni of Grant’s MCC jazz bands: myself, drummer Dan Tomlinson, bassist Matt McKenzie, and guitarist Ray Herndon. Additionally, uber-pianist Matt Rollings had attended one or more of Grant’s summer jazz workshops. Drummer Bob Warren, who played on some of the tracks on Lyle’s first record, was also a former student of Grant Wolf and Don Bothwell. Herdon, McKenzie, Rollings were members of the famous “Rouges” band at Mr. Lucky’s, and Bob Warren also played in that band at times. Any fans of honest, hard-swinging music who were living in the Phoenix area in the 1970s, 80s, and 90s remember very well what a giant positive force Grant Wolf was on the local music scene there. As a bandleader, and as a music educator who constantly nurtured fresh talent onto the scene, Grant Wolf was the focal point for so much high quality musical activity inthe Valley over the years. Based on merit, and his many real contributions to the community, it’s a slam dunk that Grant Wolf should be enshrined into your Hall of Fame. It was a terrible tragedy to the Phoenix music scene that Grant Wolf died in 2002 of a rare disease, at the young age of 56. There has been a deeply felt void in the Phoenix music scene since his passing.
I see only one jazz musician (my friend and mentor Mr. Charles Lewis) among the list of AMEHOF inductees. I am very happy to see Charles enshrined in the Hall. But surely some appreciation and acknowledgment can also be shown to some of the other great jazz artists who have labored in Arizona for many years, striving to infuse some artistic and cultural energy into the area. The tremendous importance of our great Arizona music educators should also be acknowledged and recognized.
After Grant Wolf’s all too early death, a former student named Brad Payne wrote this recollection. Brad’s account illustrates the nature of Grant’s Zen-like teaching style:
From Brad Payne: “When I was a high school student and first took Grant’s improvisation class at NAU summer camp, I came in expecting to get answers to the many questions I had about jazz harmony. I guessed that he’d help us analyze chords and scales and maybe answer all those theoretical questions that plagued me. We got settled into the room and he wandered up to the chalkboard in that slow meander of his. His eyes seemed to convey countless promises and stories untold, his hands worked the chalk back and forth, and his hair screamed for freedom from that leather string binding it into a ponytail. Surely he would answer all of life’s questions with the ultimate analysis!! Much to my surprise, he didn’t chart out any chord substitutions or alternate chord changes. In fact, he didn’t even write any music at all. He simply wrote one word: “CREATE”. He didn’t say anything for a while, but finally put the chalk down and stroked his chin whiskers for a moment or two. Then he asked us to think about what that word meant to us. He wanted us to think of how that one word (that immense concept) would impact our improvising. He wanted us to be creators–not “improvisers”, not players, not any of a thousand possible things. He was so much deeper than I could ever have imagined! That one moment sparked my curiosity more than I can express in writing and I have returned in my mind’s eye to that day thousands of times since. The simpleness and gracefulness of that gesture – of writing that word on the board and asking us to think about its consequences–defines for me how profound he was as a teacher. He inspired everyone around him to become better musicians and better teachers simply by being who he was, let alone by what he knew or what he was capable of doing.”
– Brad Payne
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Grant could, and did – eventually tell students all the specific musical rules and tips, but he wanted a genuine musical FEELING to be the primary musical generating force, rather than some textbook information. One thing that I remember Grant telling us occurred when I was 17 years old and was playing in his summer camp band at N.A.U.. Grant told us to “play the music every time as if it will be your last chance to ever play music. You don’t know what might happen. You might get hit by a bus or something tomorrow. Anything could happen. So make it really count
every time you play.” In another rehearsal a few years later at M.C.C., Grant had to address some of our big egos that were getting out of control. The upshot of his words were something like this: “You think you’re a real big shot at this little school – but go out into the real world and into the major cities where the music is really thriving, and you’ll quickly find out that there are a ton of musicians much better than you are. So check your egos, and get to PRACTICING !!” Grant treated his students as if they were adults, and respected them as such.
He always talked straight and true about how things were.
I will leave you with this nice remembrance from Ladd McIntosh, who now works as the lead music orchestrator for many of Hollywood’s top motion pictures. Ladd’s words are typical of the kind of respect and admiration Grant enjoyed from people at the very top of the music world.
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From Ladd McIntosh: -”Grant Wolf was the most selfless man I have ever known. I never heard a person say an unkind thing about Grant. Every fellow professional who knew Grant, spoke of him highly, and with great affection. It’s a formidable list that includes Lanny Morgan, the late Joe Pass, Don Rader, Clare Fischer, Gary Foster, Bruce Fowler, the late Dick Grove, Buddy Childers, Jon Crosse, Jeff Haskell, Brian Bromberg, Carol Kaye, and others. He was well-loved and admired by the jazz education community as well. I met Grant sometime around 1971 shortly after I started teaching in Utah. He started his series of summer jazz camps at MCC (and later at NAU) in 1972 and hired me asone of the guest faculty. For reasons known only to Grant, I was the one guy he hired for every single one of those camps between 1972 and the late 1980s. I am deeply honored that he kept bringing me back and I can truthfully say that observing Grant at those camps–watching his interaction with his students–gave me ideas to employ in my own teaching. Rubbing elbows with him made me a better teacher. Spending time with him always made me want to be a better man. I always looked forward to those summer jazz camps. When I had the pleasure of adjudicating one of his bands, or just listening to them, I was always struck by the intensity with which he conducted, as well as the way the students reacted to him. It was clear that they all adored him and would have followed him anywhere. His gift was that his students knew, without question, that he cared about each and every one of them. It is no secret that many students found reasons to extend their stay at MCC for more than just two years. The unspoken reason was, of course, Grant. And Grant never asked you if you wanted another beer. He simply handed you a cold one. My live is richer for having been his friend.” – Ladd McIntosh ———————————————————————————
For those who wish to learn more about the musical life of Grant Wolf, here is a Link to an informative article that Paul Cantrell wrote in New Times during the 1980′s about Grant Wolf and the Valley Big Band: http://www.grantwolf.org/ValleyBigBand_Page.html
Thank you for your thoughtful consideration of this great teacher’s lifetime of musical accomplishments and artistic contributions to the Arizona community. Please spread the word to the other Hall of Fame voters about Grant Wolf, who was truly a musical and cultural treasure of Arizona.
sincerely, Steve Marsh
Los Angeles, CA
I am writing today to enthusiastically endorse Grant Wolf – an inspirational musician and music teacher for induction into the AMEHOF.
Grant’s long musical life in Arizona and his tremendous influence on the musical lives of his students, and peers, is well documented at the Grant Wolf Memorial Website (http://www.grantwolf.org). Here I would like to share some of my own experiences and why I feel that Grant Wolf is more than worthy of this honor.
For myself, Grant was my first “musical father”. I loved music and playing the trombone, but had never really studied and applied myself to learning the “language” of jazz intensely. Once I began my classes at MCC (in 1980) I was hooked on learning as much about jazz music as I could. I was inspired to learn and grow in a way that I had never experienced before. That inspiration has continued in my life and will continue to inspire me for the rest of my life. That’s how big an impact studying with Grant Wolf, at MCC, had on me.
Musical memories:
I remember going to hear the Monday Night Valley Big Band at Chuy’s. Watching Grant conduct the big band and how he brought the music out of the ensemble, as if it was another instrument for him. I remember hearing Grant play, especially on his straight Soprano Sax. His sound and musical conception were of such high quality and beauty. This too was yet another aspect of Grant’s musical personality. In all aspects of his life in music, whether he was performing, conducting, writing, or teaching music you could “hear” all the variants of Grant’s musical expression. It was inspiring to have the opportunity to listen to someone so gifted.
Though Grant died in 2002 his musical legacy continues to influence generations to come, through the many students of his who continue to perform and teach music. As a performer I have had a very diverse life in music: I am a trombonist, composer, and educator, whose life in music has included, in part: playing in the Sahara Desert (just North of Timbuktu) with Roswell Rudd’s Trombone Shout Band, creating music in a grain silo at an artist colony in upstate New York, traveling all over the world with Frank Sinatra. I consider myself fortunate that I have many wonderful opportunities as a performer and I feel that my time studying with Grant Wolf at MCC prepared me in many ways for these opportunities to happen in my life. I bring my experiences as a performer into my teaching as well. When I walk into a music classroom one of my favorite things to do is to write the word “Create” on the board. Grant did this. I have thought a lot, through the years, about Grant as a performer and as a music educator, and it has influenced me greatly as a performer and as a music teacher. And, hopefully, through me, my students will receive some of Grant’s influence as well.
From Grant, I learned that it is always about the music, about creating honestly and communicating what we are ‘hearing’ as best as we can each day. This is a quality that you should look for in a musician who is to be considered for an honor such as this. Grant Wolf had this quality in abundance and should be given the highest consideration by the voting members of AMEHOF Advisory Board.
Sincerely,
Deborah Weisz
MCC Alumni (1980-82)
New York, NY
Even though working mostly in Country Music since 1970 in Arizona, I cannot help but endorse a major talent from our hometown of Phoenix. His name is Ron Keel, and has consistently been a fantastic singer, musician, and entertainer of exceptional quality. He signed with Gene Simmons of KISS in the early 80′s charting 3 major hits. MTV exposed the act KEEL to a new generation with the song “The Right to Rock”. Ron Keel has sold over 4-million copies worldwide. Even though he has enjoyed much success in the Rock style he has to be known as just a great singer/entertainer. Shortly after Maryvale High he was headlining 30,000 seat venues world wide, and even had a short but sweet encounter with Black Sabbath. Ron Keel has just released a new album in the UK that will debut in the US in March 2010. A fantastic show in Tempe last year and the 150 shows per year in Las Vegas along with his European tour coming up will keep his focus on performing. Ron has over 60 soundtracks in Movie and Television that continually solidify his marketability. A break from Rock in the early 90′s with his effort Ronnie Lee Keel in the Country arena produced the same outcome. Country Album of the year, Rodeo Band of the Year, USO tours, and a tremendous respect for his talents were the outcome again. He enjoys helping AMEHOF with fundraisers when possible, and is extremely proud of his home state of Arizona. His presence in the industry has earned Ron Keel this nomination and deserves your consideration. Learn more at http://www.ronkeel.com
I cant believe Ray Odom is not already an inductee,his presence and contributions to Arizona music are legendary .
I have to say that I am disappointed in part with the list of inductees recently announced.
While Dick Van Dyke and Hugh Downs are internationally recognized for their talents and achievements, I wonder about their suitability for inclusion among entertainers who have made a contribution specifically to Arizonan culture. There are some other names on the list too that seem to me to have arguable credentials in this capacity. That’s not to suggest they are undeserving of recognition in a wider context, just that votes might have been better directed towards people who are more closely associated with the state and haven’t enjoyed success so much beyond our borders. In other words, entertainers who have a strong identification with Arizona, possibly to the exclusion of a wider identity.
Similarly, I wonder about choosing JD’s as the venue to be honored. Fair enough if several venues were being inducted. But surely there are still-active venues that have good pedigree and could have benefited from support and attention. Unless I’ve missed a JD re-opening or something – and I don’t pretend to be current on the local music scene at present – JD’s is ancient history. If we have to choose one venue, shouldn’t we choose one that has more of a current presence rather than an old timer’s memory?
True, a central function of a hall of fame is to spotlight roots and pioneers. That’s as it should be. I believe induction is an honor that should go to people who have paid their dues and shown staying power. But shouldn’t it also direct attention to how those roots and pioneers have fed a cultural infrastructure (venues, local songwriters etc.) that can be experienced today? Perhaps a solution would be to have more than one venue inducted. If anyone can think of a drawback, I’ll buy you a drink next time I’m in Dooley’s or Madison Square Garden – take your choice.
So it’s a question of judgment – balancing past with present and fame with relevance.
Incidentally, great job on developing the AMEHOF website. Very impressive.
TO / ALL THE INDUCTEES, OF THE ARIZONA MUSIC AND INTERTAINMENT HALL OF FAME..
( ” CONGRATULATIONS ” )!! FROM / FLOYD AND JERRY WESTFALL..
I agree with Andrew Means on his comment.
Although the nominees are all deserving- it would better serve the AMEHOF to keep people in mind that will participate and are still actively contributing to the Arizona entertainment scene.
I support Grant Wolf, because of his large fan base and because he was instrumental in teaching so many of us music, but if their is going to be an induction ceremony it is important that people show up to the event to support the living community.
Many people do not even remember many of the venues- so there should be a seperate category for old lost places to be remembered- ie Dooleys, Jds ect.
Remembering the past is important, but for any fledgling organization- inspiring the future seems to have missed its mark on this round.
Hans Olson and Jon Iger are in the dailey support of the Arizona community and even though they might not care- there should be a place to honor them for their contributions- congratulations on all the nominees and I hope it draws a huge crowd in support of all the great people who helped make Arizona entertainment a place that showcases all the great entertainers from the Grand Canyon State.
Good luck on this years event- you will be in my thought from my home in Washington State- all the best in 2010.
joel samuel
Any information on the new Inductees, a band called Power House
Hey – has floyd & jerry been inducted? Should be – and what are they doing now, haven’t heard about floyd since the death of Steve Dodge, only heard he went to nashville. A lot of years have passed, but they were a major part of my life.