Confession time: back when I was first getting into jazz in the 70s, I’d go see jazz artists like Benny Goodman and Count Basie at a local auditorium. Every year they’d advertise upcoming concerts for Chet Atkins, but I never went, thinking “why would I want to see some old hick play guitar.” In retrospect of many years of music, and as well documented on this two disc set, I can only dream of ever seeing him in concert, not to mention just sitting and taking a few lessons from this grand master that was a major influence on all electric guitarists in his wake.
For these sessions, Atkins teamed up with the crème of Nashville sidemen in George Barnes/g, Bob Moore/b, Floyd Cramer/p, Hank Snow/g, Hank Garland/g and Boots Randolph/sax being just a few of the artists included here. His Western Swing on pieces such as “Canned Heat” or “The Nashville Jump” are simply infectious, and his facile chops during “Galloping Guitar” are awesomely inspiring. Atkins had his share of hits, such as “Silver Bell,” “One Mint Julep,” and “Poor People of Paris,” and with Bud Isaacs on steel guitar, Atkins glides through “Mister Sandman.” His jazz bona fides are never in question, as he sears the strings during “Dizzy Strings,” “Lover Come Back to Me,” “Chinatown, My Chinatown,” “Crazy Rhythm” and a read of “Django’s Castle” that would draw applause from Mr. Reinhardt himself. Fans of the more Bob Wills fashion will “ah ha” with delight on “San Antonio Rose,” and his suave sounds take care of the rich Fats Waller piece “Jitterbug Waltz” with aplomb. The mix of lyricism with effervescent joy and a vanguard reaching technique set the standard for all six stringers that followed. This set also serves as a reminder as to some wrong turns today’s artists have made, sacrificing melody and enjoyment for mindless navel gazing masked as “effects.” Grab this one up!