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Photos : Kathy & Ronnie Wade

Merle Travis (1917-1983) was one of the most influential guitarists of the 20th century. His style of playing is so distinct, it carries his name. “Travis Picking” boils down simply to making a solo guitar sound like an entire band (no simple task). Merle only played guitar professionally for less than half of his centennial year celebrated at Nashville’s City Winery, by a jaw-dropping array of musicians of all ages. During the 1940s and 50s, his peak years, he left an impact on guitarists around world that has stood the testament of time and trends. His chief disciple was Chet Atkins, aka Mr. Guitar, who put it quite simply when he said, “I’d probably be looking at the rear end of a mule if it weren’t for Merle Travis.” Atkins and Travis did a Grammy-winning album together in 1974. Travis was not just a guitarist, he was a creator, with his designs for both the solid body guitar that led to the development of Fender guitars, and the Bigsby vibrola. He was songwriter recognized by the Smithsonian and other hallowed halls, who gave Capitol Records their first million-seller with “Smoke, Smoke, Smoke That Cigarette,” and many more, like his signature song “Sixteen Tons.” He was also a singer, cartoonist, actor, and a watch repairman.

That explains why the following seventeen guitarists, with sixteen tons of talent, wanted to honor him. Pat Bergeson, Thom Bresh, Caleb Coots, Doyle Dykes, Tommy Emmanuel, Parker Hastings, Trey Hensley, Rory Hoffman, Rob Ickes, John Jorgenson, Laurence Juber, John Knowles, Andy McKee, Jack Pearson, Alonzo & Eddie Pennington, and Steve Wariner. However, unlike an extra candle on the cake, it was a very sudden event that took Tommy Emmanuel, one of guitars brightest lights, back to Australia, due to a death in his family. If you have ever seen Tommy live, just know that his spirit was all over that packed house, as was Merle Travis’, who looked down from two large screens showing a slide show and some vids of his career. Not only was Travis a great soloist, he played in many different ensembles, and to honor that, there was a sprinkling of other players and singers, Mark Fein, Charlie Morgan, Harry Stinson and Beth Hooker to interact with all the guitar giants. Beth, who is always a standout vocalist, stood out to me even more, because she was the only female on the bill. I found that puzzling, as I know many fine fingerstyle female guitarists, who would have brought it too. Perhaps before another 100 years passes.

When you have so much talent, it’s hard to pick out highlights, Hot licks were crisscrossing that stage like hot lead at the OK Corral. There were several for me, Doyle Dykes, Parker Hastings, Rory Hoffman, a true musical savant, John Jorgenson’s ensemble groups, John Knowles, usually known as Mister Smooth, played his very funky “Chicken In The Rain” on classical guitar. Jorgenson’s quintet doing “Sixteen Tons” led to a grand finale of 88 strings (14 guitars and a bass) playing “Cannonball Rag” that brought the crowd to its feet. I was brought to my feet much earlier, by the opening performance of consummate entertainer, Thom Bresh, who has something just a little extra, known as the “Guitar Gene.” I was groovin’ to the way he drove Travis’s “Nine Pound Hammer” into the ground with his thundering thumb and then moved to tears by his heartfelt “Guitar In The Window,” a masterpiece of tunesmithing, that Thom wrote for his father, Merle Travis.

— Ken Spooner