Tommy Emmanuel: Fingerstyle 101 (Chris)
Regular readers will know about another rock and roll journey I made to America and Australia earlier this year which, fingers crossed, will become a second book. Living it up down under I met and recorded some of Australia’s biggest names in music, and came back with hours and hours of juicy audio. Some of it will turn up in radio programmes of one sort or another, including one about AC/DC for BBC Radio 2 (no idea when it goes out – keep you posted), but there’s too much quality stuff not to start sharing some of it now. So join me as I venture boldy into the world of ‘audioblogging’, with a handful of pieces where I try my best to shut the heck up and let my subjects do the talking, playing, whatever. (I have no idea if audioblogging is actually ‘a thing’, by the way - if not, it is now.) As Tommy Emmanuel, to my mind the finest guitar player alive today, is currently touring America, here are some words and music from our encounter in ‘Australia’s Nashville’, at the Tamworth Country Music Festival in New South Wales earlier this year.
In his book Outliers: The Story of Success, Malcolm Gladwell argues that genius is less a question of natural talent than of sheer hard work. The theory goes that Mozartian greatness, far from being a gift, is the product of no less than 10,000 hours’ graft. The Beatles put in the hours in Hamburg – 1200 shows in under four years – and Bill Gates did likewise, coding a school computer from the age of 13. If Gladwell is right, then Tommy Emmanuel, who has been a professional musician since the age of six (yes, six) and must have put in closer to 100,000 hours in the intervening years, is something like genius squared. (Indulge the hyperbole and excuse the math.) Since hearing Chet Atkins at the age of seven, Tommy has stuck to a signature style of playing called ‘fingerstyle’ guitar which, as you’ll hear in this clip, may well have been birthed by a very unlikely midwife – the Everly Brothers’ dad:
Possibly because an audience clapping along to a man playing ‘Yakety Axe’ on a Gretsch guitar passed for mainstream entertainment in the fifties and sixties, Chet Atkins was – and still is – a household name. Tommy Emmanuel is not, but I’m happy to call him a hero nonetheless. As I’m an ‘enthusiastic’ fingerstyle guitar player myself, Tommy cosies up alongside dead musicians and French existentialist philosophers on my list of idols, despite his being ‘about as cool as James Galway’, as my Australian ex-boss once put it. Over the course of my Aussie adventure I had, in a shameless attempt at currying favour with possible providers of food, accommodation or protection from beer-swilling, outback ockers, been trying (and mostly failing) to perfect Australia’s unofficial national anthem Waltzing Matilda on fingerstyle guitar. I asked Tommy to show me how it’s done:
If your idea of ‘something a little different’ – like mine until not very long ago – involves going to see a band without beards or multipart vocal harmonies, I can heartily recommend the refreshingly uncomplicated experience of seeing one man and an acoustic guitar in a ‘proper’ venue that doesn’t stink of piss. Tommy’s US dates are just such an opportunity. He returns to Nashville – now a kind of second hometown – this month with four dates at the Chet Atkins Appreciation Society (I love that such a thing even exists), so I’ll let Tommy finish on a few words about how his hero became a mentor and friend. This clip opens on some some insight into Chet’s home life and cancer struggle:
Postscript: if you have any feedback on these audioblogs – clips too long or too short, words unnecessary or intrusive? – I’d love for you to leave me a comment. Thanks.






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