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I started watching the documentary last night, (didn't finish, got too sleepy) and at one point he said how when people wonder why he stopped playing, saying he never stopped but just because he's not playing clubs in NYC and isn't covered in the media, people assume he's not playing any more, but says he always did. And he mentioned how he prefers simpler life. He was a very quiet personality.
To circle back to fingerstyle guys, one interesting thing I heard Chet saying is how he ended up with his own style that was separate from Merle's. He explained how he heard Merle on the radio and when he wanted to learn some of that he says he couldn't imagine someone playing all those complex lines using primarily thumb and index finger. So Chet used thumb for bass lines but all of his fingers to play melody lines (I guess not really the pinky) and in doing so developed a new era of fingerstyle guitar.
There is a nice video on YT of Mark Knopfler & Chet Atkins playing I’ll See You In My Dreams in the Travis/Atkins style. Looks like Knopfler mixes up bar chords with thumb over technique in it.
Oh yeah, the classic, love that video.
Hey Scot. Long time! I know there’s tons of stuff on Travis picking, but wonder if there’s a book of his chords? I did a brief search but you’re the expert and may know! Btw recently moved to WNC. Not any closer to you sadly.
I saw a TV film about Tal Farlow back in the '80s so that was probably the film mentioned above. I think I stumbled on it accidentally and probably knew little about him although as a regualr reader of 'Guitar Player' back then I may have seen his name. But that night he converted me as a fan and yes, I too remember his hands seemed to be all over the neck without moving. He played something accompanied by Tommy Flanagan on piano and I think George Benson was in it too (and others?). I do remember he said he rarely played the clubs any more as he had gone back to his original trade as a sign writer and some of the interview was done in a picturesque harbour with him painting the name on the side of a boat. I guess there are times when even the best, particularly in the jazz field, struggle to make a living and who can blame him for doing whatever it took to pay the bills.
@ChrisMartin Who knows why people do what they do? Maybe Tal lost the muse to play professionally? Did anyone really think Michael Jordan would leave basketball at the height of his powers to play baseball? He eventually came back, as did Tal, but perhaps Tal wished to seek other challenges. I'm with you..l.don't blame him at all for doing what he needed to do, but from someone who has not even a thimbleful of the talent Tal Farlow did, I'm certainly envious of him for having even the ability to have such a choice. Seems glamorous to be a pro musician of that caliber, but I can comprehend there might also be a lot of stress too.
Yes, to put it simply, the stress of needing to just make enough to pay the bills and get by can outweigh the urge to perform. Talent has never been a guarantee of riches and while mindless 'boom-boom' might make hit records for the pop market for those unwilling to sell out I would guess it is much easier decision to make to stay home.
Also a professional musician can not plan his career alone, he is dependent on so may others, some of whom may not have his best interests at heart, just profit. I learned enough from musician friends in London in the '70s how precarious the business is, and lack of talent notwithstanding, I soon found the motor trade to be far more honest and easier to deal with.
Wow! That really went off topic.
Sorry.
Back to thumbs then.
Yes that's the docu, Chris. Really well done. He was just a quiet personality and preferred a quiet life, didn't like the hustle and bustle of touring and big stages and attention.