Chet Atkins

This article is about the musician. For the former US Congressman, see Chester G. Atkins.

Chet Atkins
Chet Atkins Chet Atkins
Background information
Born	June 20, 1924
Origin	Luttrell, Tennessee
Died	June 30, 2001
Genre(s)	Country Classical Folk Jazz
Years active	1942 - 2001
Label(s)	RCA Records Columbia Records
Website	Official Website
Notable instrument(s)
Country Gentleman Tennessean 6120

Chester Burton "Chet" Atkins (June 20, 1924 – June 30, 2001) was an influential guitarist and record producer. His picking style, inspired by Merle Travis, Django Reinhardt, George Barnes and Les Paul, brought him admirers both within and outside the country scene, both in the U.S.A. and internationally. Atkins produced records for Eddy Arnold, Don Gibson, Jim Reeves, Jerry Reed, Skeeter Davis, Connie Smith, and Waylon Jennings. He created, along with Owen Bradley, the smoother country music style known as the Nashville sound, which expanded country music's appeal to include adult pop music fans as well.

Biography

Chet was born on June 20, 1924, in Luttrell, Tennessee, near the Clinch Mountains, and grew up with his mother and two brothers and a sister, he being the youngest. His parents divorced when he was six. He started out on the ukulele, later moving on to the fiddle, but traded his brother Lowell an old pistol and some chores for a guitar when he was nine. Forced to relocate to Georgia to live with his father due to a near-fatal asthma condition, Chet was a sensitive youth who made music his obsession.

The stories have been told about the very young Chet who, when a relative would come to visit, and if that relative played a guitar, would crowd in and put his ear so very close to the instrument that it became difficult for that person to play. This was an early demonstration of his affinity for the instrument that would later become his life, and that he would take around the world, stunning packed concert halls from Nashville to the Boston Pops. Thus he became an accomplished guitarist while he was in high school.

The stories are told of how Chet would use the restroom in the school to practice, because it gave better acoustics. While the other boys in school shot craps, Chet would busy himself practicing, absorbed in the world of his guitar. Chet was self-taught, and later in life lightheartedly gave himself (along with John Knowles, Tommy Emmanuel, Steve Wariner and Jerry Reed) the honorary degree "CGP," standing for "Certified Guitar Player." His half-brother Jim was a successful guitarist who worked with the Les Paul Trio in New York.

Atkins did not have a strong style of his own until 1939 when (while still living in Georgia) he heard Merle Travis picking over WLW radio. This early influence dramatically shaped his unique playing style. Whereas Travis's right hand utilized his index finger for the melody and thumb for bass notes, Atkins expanded his right hand style to include picking with his first three fingers, with the thumb on bass. The result was a clarity and complexity that became his unmistakable sound.

Career

Early career

After dropping out of high school in 1942, he landed a job at WNOX radio in Knoxville. There he played fiddle and guitar with singer Bill Carlisle and comic Archie Campbell as well as becoming a member of the station's "Dixieland Swingsters," a small swing instrumental combo.

After three years, he moved to WLW in Cincinnati, Ohio, where Merle Travis had formerly worked. After six months he moved to Raleigh and worked with Johnnie and Jack before heading for Richmond, Virginia, where he performed with Sunshine Sue Workman. Atkins's shy personality worked against him, as did the fact that his sophisticated style led many to doubt he was truly "country." He was fired often but was soon able to land another job at another radio station due to his unique playing ability.

Traveling to Chicago, he auditioned for Red Foley, who was leaving his star position at the WLS National Barn Dance to join the Grand Ole Opry. Atkins made his first appearance at the Grand Ole Opry in 1946 as a member of Foley's band. He also recorded a single for Nashville-based Bullet Records that year. That single, "Guitar Blues," was fairly progressive, including as it did, a clarinet solo by Nashville dance band musician Dutch McMillan with Owen Bradley on piano. He had a solo spot on the Opry for a while but when that was cut Atkins moved on to KWTO in Springfield, Missouri, and despite the support of executive Si Siman, soon was fired for not sounding country enough.

RCA Victor signs Atkins

While working with a Western Band in Denver, Colorado, Atkins came to the attention of RCA Victor. Si Siman had been encouraging Steve Sholes to sign Atkins, as his style (with the success of Merle Travis as a hit recording artist) was suddenly in vogue. Sholes, A&R director of country music at RCA, tracked Atkins down to Denver. He made his first RCA recordings in Chicago in 1947. They did not sell. He did some studio work for RCA that year but had relocated to Knoxville again where he worked with Homer and Jethro on WNOX's new Saturday night radio show the Tennessee Barn Dance and the popular Midday Merry Go Round. Still, it was a hard way to make a living for a family man for by then he had a wife and daughter. He even contemplated tuning pianos as a sideline. In 1949 he left WNOX to join Mother Maybelle and the Carter Sisters back at KWTO. This incarnation of the old Carter Family featured Maybelle Carter and daughters June, Helen and Anita. Their work soon attracted attention from the Opry. The group relocated to Nashville in mid-1950. Atkins began working on recording sessions, performing on WSM and the Opry.

While he hadn't yet had a hit record on RCA his stature was growing. He began assisting Sholes as a Session Leader when the New York-based producer needed help organizing Nashville sessions for RCA artists. Atkins's first hit single was "Mr. Sandman," followed by "Silver Bell," which he did as a duet with Hank Snow. His albums also became more popular. In addition to recording, Atkins became a design consultant for Gretsch, who manufactured a popular Chet Atkins line of electric guitars from 1955-1980. Atkins also became manager of RCA's Nashville studio eventually inspiring and seeing the completion of the legendary Studio 'B'. This studio was the first studio built specifically for the purpose of recording on the now famous 'Music Row'.

Performer and manager

When Sholes took over pop production in 1957 - a result of his success with Elvis Presley - he put Atkins in charge of RCA's Nashville division. With country music record sales in tatters as rock and roll took over, Atkins and Bob Ferguson took their cue from Owen Bradley and eliminated fiddles and steel guitar as a means of making country singers appeal to pop fans. This became known as 'The Nashville Sound' which Chet said was a label created by the media attached to a style of recording done during that period in an effort to keep country (and their jobs) viable. Atkins used the Jordanaires and a rhythm section on hits like Jim Reeves' "Four Walls" and "He'll Have to Go" and Don Gibson's "Oh Lonesome Me" and "Blue Blue Day." The once rare phenomenon of having a country hit "cross over" to pop success became more common. He and Bradley had essentially put the producer in the driver's seat, guiding an artist's choice of material and the musical background.

Atkins made his own records, which usually visited pop standards and jazz, in a sophisticated home studio, often recording the rhythm tracks at RCA but adding his solo parts at home, refining it all until the result satisfied him. Guitarists of all styles came to admire various Atkins albums for their unique musical ideas and in some cases experimental electronic ideas. In this period he became known internationally as "Mister Guitar," also the name of one of Atkins's albums. His trademark "Atkins Style" of playing, which was and is very difficult for a guitarist to master, uses the thumb and first two - sometimes three - fingers of the right hand. He developed this style from listening to Merle Travis occasionally on a primitive radio. He was sure no one could play that articulately with just the thumb and index finger (which actually was exactly how Travis played) and he assumed it required the thumb and two fingers - and that was the style he pioneered and mastered. He enjoyed jamming with fellow studio musicians which led to them being asked to perform at the Newport Jazz Festival in 1960. That performance was canceled, however, due to rioting. Atkins performed by invitation at the White House for presidents Kennedy through George H. W. Bush.

Before his mentor, Sholes, died in 1968, Atkins had become vice president of RCA's country division. He had brought Waylon Jennings, Willie Nelson, Connie Smith, Bobby Bare, Dolly Parton, Jerry Reed and John Hartford to the label in the 1960s and inspired and helped countless others. He took a considerable risk during the mid-1960s, when the Civil Rights Movement sparked violence throughout the South by signing country music's first African-American singer Charley Pride, who sang rawer country than the smoother music Atkins had pioneered. But Atkins's hunch paid off. Ironically, some of Pride's biggest fans were from the most conservative country fans, many of whom didn't care for the pop stylings Atkins had added.

Atkins's own biggest hit single came in 1965, with "Yakety Axe," an adaptation of his friend saxophonist Boots Randolph's "Yakety Sax." He rarely performed in those days, and eventually had to hire other RCA producers like Bob Ferguson and Felton Jarvis to alleviate his workload.

Atkins retires from management

In the 1970s, Atkins became increasingly stressed by his executive duties. He produced fewer records but could still turn out hits such as Perry Como's pop hit "And I Love You So." He recorded extensively with close friend and fellow picker Jerry Reed, who'd become a hit artist in his own right. A 1973 bout of colon cancer, however, led Atkins to redefine his role at RCA, to allow others to handle administration while he went back to his first love, the guitar, often recording with Reed or even Homer & Jethro's Jethro Burns (Atkins's brother-in-law) after Homer died in 1971.

By the end of the '70s, Atkins's time had passed as a producer. New executives at RCA had different ideas. He first retired from his position in the company, and then began to feel stifled as an artist because RCA would not let him branch out into jazz. At the same time he grew dissatisfied with the direction Gretsch (no longer family-owned) was going and withdrew his authorization for them to use his name and began designing guitars with Gibson. He left RCA in 1982 and signed with Columbia Records, for whom he produced a debut album in 1983. While he was with Columbia, he showed his creativity and taste in jazz guitar, and in various other contexts. Jazz had always been a strong love of his, and often in his career he was criticized by "pure" country musicians for his jazz influences. He also said on many occasions that he did not like being called a "country guitarist," insisting that he was a guitarist, period. Although he played 'by ear' and was a masterful improviser he was able to read music and even performed some classical guitar pieces with taste and distinction. He did return to his country roots for albums he recorded with Mark Knopfler and Jerry Reed. On being asked to name the ten most influential guitarists of the 20th century, he named Django Reinhardt to the first position on the list, and placed himself at fifth position.

In later years he even went back to radio, appearing on Garrison Keillor's Prairie Home Companion, and even picking up a fiddle from time to time.

Legacy

Atkins received numerous awards, including eleven Grammy Awards (including a Lifetime Achievement Award in 1993), and nine Country Music Association Instrumentalist of the Year awards. Billboard Magazine awarded him their Century Award, their "highest honor for distinguished creative achievement," in December 1997.

Atkins expanded the universe for guitarists - and lovers of guitar music - in a way no one did before, nor likely will again. His love for numerous styles of music can be traced from his early recording of stride-pianist James P. Johnson's "Johnson Rag," all the way to the rock stylings of Eric Johnson, an invited guest on Atkins's recording sessions who, when Chet attempted to copy his influential rocker "Cliffs of Dover," led to Atkins's creation of a unique arrangement of "Londonderry Air (Danny Boy)."

Chet's recordings of "Malaguena" inspired a new generation of Flamenco guitarists; the countless classical guitar selections peppering almost all his albums were, for many American artists working in the field today, the first classical guitar they ever heard. He could certainly play as jazzy or bluesy as he wanted, even recording smooth jazz guitar still played on American airwaves today.

And gauging his influence on the sound of country music in the later 20th century - and beyond - would be as hard to calculate as counting the number of guitar picks in Nashville today - flatpicks and thumbpicks combined.

While he did more performing in the 1990s his health grew frail as the cancer returned and worsened. He died on June 30, 2001 at his home in Nashville.

Atkins was quoted many times throughout his career, and of his own legacy he once said:

“

Years from now, after I'm gone, someone will listen to what I've done and know I was here. They may not know or care who I was, but they'll hear my guitars speaking for me.

”

A stretch of Interstate 185 in southwest Georgia (between LaGrange and Columbus) is named "Chet Atkins Parkway."

In 2002, Atkins was posthumously inducted into the Rock and Roll Hall Fame. His award was accepted by Marty Stuart and Brian Setzer. The following year, Atkins ranked #28 in CMT's 40 Greatest Men of Country Music.

Discography

• 1952 - Chet Atkins' Gallopin' Guitar
• 1953 - Stringin Along
• 1953 - String Dustin'
• 1954 - A Session with Chet Atkins
• 1955 - Stringin' Along with Chet Atkins
• 1955 - Chet Atkins in Three Dimensions
• 1955 - The Amazing Chet Atkins
• 1956 - Finger Style Guitar
• 1957 - Hi Fi in Focus
• 1958 - Chet Atkins at Home
• 1959 - Mister Guitar
• 1959 - Hum & Strum Along with Chet Atkins
• 1959 - Chet Atkins in Hollywood
• 1960 - The Other Chet Atkins
• 1961 - Teensville
• 1960 - After the Riot at Newport
• 1961 - Chet Atkins' Workshop
• 1961 - The Most Popular Guitar
• 1961 - Chet Atkins Plays Great Movie Themes
• 1961 - Christmas with Chet Atkins
• 1962 - Down Home
• 1962 - Plays Back Home Hymns
• 1962 - Caribbean Guitar
• 1963 - Our Man in Nashville
• 1963 - Teen Scene
• 1963 - Travelin'
• 1963 - The Guitar Genius
• 1964 - Guitar Country
• 1964 - Progressive Pickin'
• 1964 - Reminiscing
• 1964 - The Best of Chet Atkins
• 1964 - The Early Years of Chet Atkins & His Guitar
• 1965 - My Favorite Guitars
• 1965 - More of That Guitar Country
• 1966 - Chet Atkins Picks on the Beatles
• 1966 - From Nashville with Love
• 1966 - The Pops Goes Country
• 1966 - The Best of Chet Atkins Vol. 2
• 1966 - Music from Nashville, My Hometown
• 1967 - It's A Guitar World
• 1967 - Chet Atkins Picks the Best
• 1967 - Class Guitar
• 1967 - Chet
• 1968 - Solo Flights
• 1968 - Solid Gold 68
• 1968 - Play Guitar with Chet Atkins
• 1968 - Chet All The Way
• 1968 - Hometown Guitar
• 1969 - Relaxin' with Chet
• 1969 - Lovers Guitar
• 1969 - Solid Gold 69
• 1969 - The Nashville String Band
• 1970 - C.B. Atkins & C.E. Snow by Special Request
• 1969 - Chet Atkins Picks on the Pops
• 1970 - Yestergroovin'
• 1970 - Solid Gold 70
• 1970 - Me & Jerry(w/Jerry Reed)
• 1970 - Down Home (with the Nashville String Band)
• 1970 - Pickin' My Way
• 1970 - This Is Chet Atkins
• 1971 - Mr. Atkins, Guitar Picker
• 1971 - Chet Atkins Guitar Method Volume 1 & 2
• 1971 - For the Good Times
• 1971 - Strung Up (with the Nashville String Band)
• 1971 - Country Pickin'
• 1971 - Identified!(Nashville String Band)
• 1971 - Chet Floyd & Boots
• 1972 - Me & Chet
• 1972 - World's Greatest Melodies
• 1972 - Now & Then
• 1972 - American Salute (Boston Pops w/Chet Atkins)
• 1972 - The Bandit
• 1972 - Nashville Gold
• 1972 - Picks on the Hits
• 1973 - Greatest Hits of the 50's w/Arthur Fiedler
• 1972 - Finger Pickin' Good
• 1973 - Discover Japan
• 1974 - Chet Atkins Picks on Jerry Reed
• 1973 - Superpickers
• 1974 - The Atkins - Travis Traveling Show
• 1975 - The Night Atlanta Burned
• 1975 - Famous Country Music Makers
• 1975 - In Concert
• 1975 - The Golden Guitar of Chet Atkins
• 1973 - Alone
• 1976 - Chester & Lester
• 1975 - Chet Atkins Goes to the Movies
• 1975 - Teen Scene (reissue)
• 1977 - Love Letters
• 1976 - The Best of Chet Atkins and Friends
• 1977 - Me and My Guitar
• 1977 - Chet Floyd & Danny
• 1977 - A Legendary Performer
• 1978 - Guitar Monsters
• 1979 - And Then Came Chet
• 1979 - First Nashville Guitar Quartet
• 1980 - The Best of Chet on the Road - Live
• 1980 - Reflections
• 1981 - Country After All These Years
• 1981 - Standard Brands
• 1981 - Country Music
• 1982 - Solid Gold Guitar
• 1983 - Guitar Pickin' Man
• 1983 - Great Hits of the Past
• 1983 - Work It out with Chet Atkins C.G.P.
• 1983 - East Tennessee Christmas
• 1984 - Tennessee Guitar Man
• 1984 - A Man & His Guitar
• 1985 - Collectors Series
• 1985 - Guitar for all Seasons
• 1985 - Stay Tuned
• 1986 - 20 of the Best
• 1986 - Street Dreams
• 1987 - Sails
• 1988 - Chet Atkins, C.G.P.
• 1988 - Pickin' on Country
• 1989 - Masters of the Guitar: Together
• 1989 - Pickin' the Hits
• 1990 - Neck & Neck (with Mark Knopfler)
• 1990 - The Magic of Chet Atkins
• 1990 - Country Gems
• 1991 - The Romantic Guitar
• 1992 - Sneakin' Around
• 1992 - The RCA Years
• 1993 - The Gingham Dog and the Calico Cat
• 1993 - Gallopin' Guitar
• 1993 - Jazz From The Hills
• 1994 - Simpatico (with Suzy Bogguss)
• 1994 - Read My Licks
• 1996 - The Essential Chet Atkins
• 1996 - Almost Alone
• 1997 - The Day Finger Pickers Took Over the World (with Tommy Emmanuel)
• 1998 - Super Hits
• 1998 - Masters
• 2000 - Guitar Legend: The RCA Years
• 2000 - Guitar Man
• 2001 - RCA Country Legends
• 2001 - The Master and His Music
• 2002 - Chet Atkins Picks on the Grammys
• 2002 - Tribute to Bluegrass
• 2003 - The Best of Chet Atkins
• 2003 - Solo Sessions

References

ISBN links support NWE through referral fees

• Kienzle, Rich. (1998). "Chet Atkins." In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 26-7.

External links

• A-Team Musicians. www.nashvillesound.net. Retrieved September 28, 2007.
• Chet Atkins Official Website. www.misterguitar.com. Retrieved September 28, 2007.
  • Chet Atkins Fan Club.
• AMG Entry for Chet Atkins. www.allmusic.com. Retrieved September 28, 2007.
• Chet Atkins band sideman. www.jazzkeyboard.com. Retrieved September 28, 2007.
• Chet Atkins' Gravesite. www.findagrave.com. Retrieved September 28, 2007.
• Chet Atkins side man - Paul Yandell. www.paulyandell.com. Retrieved September 28, 2007.

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