Archive for the ‘Music Industry Events’ Category

Chet Atkins’ Little Black Book (of Songs)

Monday, June 27th, 2016

By Fred W. Gretsch

From the outside, it looks like an everyday, ordinary pocket-sized memo book. The kind you can still buy at any office supply store. Its black leather cover is worn around the edges and it’s scuffed from years of being put in coat pockets, briefcases, suitcases – and even guitar cases. Just like the man who bought it, the book’s cover is understated and unassuming. But once opened, you’re given a fascinating glimpse into the musical journey of the book’s original owner: Chet Atkins.

Chet bought this memo book in 1950 when he played with Mother Maybelle and the Carter Sisters act on KWTO, a radio station in Springfield, Missouri. You see “Chester A. Atkins, Feb. 12, 1950, Springfield” written in pencil on the first page. Chet started out using this book to select songs for the daily morning radio show, and the many public appearances Chet and the Carter family made across Missouri, Arkansas, Kansas, and Oklahoma.

When Chet first created his list, the songs were typed on loose-leaf paper and organized in alphabetical order. Many included the songwriter and if it was licensed through BMI or ASCAP. As new songs were added, Chet wrote them down by hand with whatever ink pen or pencil he had on him at the time. Some of the songs were written neatly, others hurriedly, and some included the key they were played in. It’s also heartwarming to see several scribbled pencil drawings throughout the book made by Chet’s young daughter, Merle.

“Caravan” and “Country Gentleman” were two popular songs Chet added; young daughter, Merle, made the pencil drawing. Photo by Ron Denny.

In addition to being a master guitarist, Chet was famous for the vast number of songs and song styles he could play. There are 475 songs listed in this book alone. 475! And they include a wide range of genres: classical, blues, country, ragtime, bluegrass, pop, and even Spanish-influenced. It’s mind blowing.

It’s also a treat seeing songs listed that played a part in launching the successful Gretsch – Chet Atkins guitar endorsement in the mid-1950s. “Mr. Sandman” and “Silver Bell,” two instrumental hit singles from 1955, were hand-written in the book along with “Country Gentleman,” a signature song that became both Chet’s nickname and the name of his top-of-the-line Gretsch guitar model introduced in 1958.

You also recognize dozens of songs in the book that made their way onto Chet’s RCA Victor albums of the 1950s and early 1960s. These songs would have been recorded on a variety of Gretsch Chet Atkins Model guitars built at our Brooklyn factory: 6120s, prototype 6120s custom-built for Chet, and, of course, his iconic 1959 Country Gentleman, considered the most recorded guitar in music history.

Chet liked surprising his friends with little gifts and tokens of appreciation, and no one was more surprised than his longtime bandleader and confidant, Paul Yandell, at the 1996 Chet Atkins Appreciation Society Convention. After awarding John Knowles with a CGP (Certified Guitar Player) Award, Chet pulled the black book out of a hat, which had been placed on a stool onstage, and presented it to an unsuspecting Paul.

Paul’s wife, Marie, and son, Micah, have been friends of mine for years, and shared that Paul had no knowledge of the song book until Chet gave it to him and told him the story behind it. When Paul got home that night, he sat down and looked through the book page-by-page, astonished at all the songs Chet had played through the years.

Marie also shared that the book was a sentimental treasure to Paul, and felt Chet gave it to her husband in appreciation of the deep friendship the two guitarists had formed from playing together for more than 20 years. Micah added that it represented the bond, respect, and love his father and Chet had for each other. They were as close as two brothers, and his father always looked up to Chet and considered him a father figure.

Chet Atkins and Paul Yandell performing together in 1979.

The book is an interesting diary of the most important decade in Chet Atkins’ musical career. In the summer of 1950, just a few months after creating his song book, Chet was lured to Nashville and never looked back. In the 10 years that followed, Chet established himself as a successful recording artist, producer, and record executive; created the sophisticated “Nashville Sound;” and had his name on a popular line of Gretsch guitars. He also earned the nickname of “Mr. Guitar.”

Chet influenced and inspired thousands of young guitarists. In fact one of the songs Chet typed in the book, “I’ve Been Workin’ On The Guitar,” was heard on the radio one night by a young guitarist in Kentucky. Chet’s song changed the teenager’s life, and he became obsessed with Chet’s trademark fingerpicking style and bought as many Chet Atkins records as he could afford. The name of that Kentucky teenager was Paul Yandell.

How fitting that 40 years later, Chet would entrust Paul with his old song book which included not only “I’ve Been Workin’ On The Guitar,” but dozens of other songs Chet and Paul had performed together for decades. What a gesture of friendship and love to the man Chet described as not only a great guitar player, but also someone who knew everything Chet had done and could do it better. Classic Chet.

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Gretsch Day 2016 At Street Sounds

Wednesday, June 8th, 2016

A very special event took place in Brooklyn, New York on June 4: the annual Gretsch Day at Street Sounds. Located on 3rd Avenue in Brooklyn (and touting itself as “the world’s largest Gretsch dealer” for guitars, amps, and related accessories), Street Sounds staged an all-day event that showcased Gretsch products and Gretsch artists alike.

A large section of the wall at Street Sounds was devoted to a display of Gretsch Custom Shop guitars—each one a unique creation.

Store owner Rocky Schiano decorated the shop for the occasion with an impressive array of Gretsch guitars. This included several stunning creations by the Gretsch Custom Shop operation, which is based in Corona, California. The director of the Custom Shop, master guitar builder Stephen Stern, was on hand to describe some of the unique models on display. Meanwhile a video program on-screen throughout the day showcased Gretsch guitar artists Billy F. Gibbons (ZZ Top), Brian Setzer, Stephen Stills, and many others.

After saying hello to the assembled audience, Rocky Schiano then introduced Fred and Dinah Gretsch, who greeted the crowd on behalf of the Gretsch Family and the Gretsch Company. Fred then spoke about the long heritage of Gretsch guitars, as exemplified by the Bachman-Gretsch Collection of vintage Gretsch guitars—which is currently on exhibit at the Country Music Hall of Fame and Museum in Nashville. As Fred described, the seventy-five guitars on display provide a visually stunning window into the evolution of the instrument, from the early 1930s to the early 1980s. The full collection of over 300 guitars was amassed in the 1970s and ’80s by Canadian guitarist and songwriter Randy Bachman (of the Guess Who and Bachman-Turner Overdrive). It was purchased in 2008 by the Gretsch Foundation, the charitable arm of the Gretsch Family.

The first act of the day was a highly unusual instrumental trio called Big Lazy.

Entertainment for the day began with a performance by a band called Big Lazy. In keeping with the Gretsch Day’s nickname—“Twang-O-Rama”—this Brooklyn-based trio certainly looked like a rockabilly band. For one thing, guitarist Stephen Ulrich (who said he had grown up “in the shadow of the Gretsch factory”) was using a classic 1955 Duo Jet with a decidedly twangy character. But they quickly proved to be something totally different. Their all-instrumental set featured an eclectic mix of movie themes (including “Mission Impossible” in 5/4), middle-eastern melodies, and even an atmospheric rendition of The Beatles’ “Girl.”

State senator Marty Golden (right) congratulated Fred and Dinah Gretsch, then presented a plaque to Rocky Schiano saluting his efforts to promote music-making among young people.

Rocky Schiano returned to the stage to introduce New York state senator Marty Golden, and to bring Fred and Dinah Gretsch back up as well. Golden then congratulated Fred and Dinah on the Gretsch Company’s long history—especially its connection to Brooklyn. He then presented a plaque to Rocky Schiano saluting his efforts to encourage young people to play music.

Off The Roof is a Brooklyn-based punk-infused contemporary rock band.

The “local Brooklyn” theme continued with the next band on the bill, who were introduced by legendary custom-pickup designer Tom “TV” Jones. Called Off The Roof, this young trio featured Rocky Schiano’s 20-year-old daughter Kristina on drums. (Gretsch drums, naturally.) They offered an energetic set of punk-infused contemporary rock that wowed the audience.

Rocky Schiano was obviously emotional when introducing the next artist—who, he said, “Inspired me to go out and play live.” That artist was John “The Cat” Gatto, former lead guitarist for New York-area rock legends The Good Rats.

John’s blazing guitar solos were a high point of the group’s performance.

John’s blazing guitar solos were a high point of the group’s performance.

Playing with the support of a very talented Good Rats tribute band from New Jersey, “The Cat” reprised several of the songs made famous by the Rats during their heyday in the 1970s. His guitar solos were a highlight of the set. Then, in a surprise closer, the band finished with a rousing rendition of The Monkee’s “Pleasant Valley Sunday.”

While all this great music was going on, Fred Gretsch was spending most of his time behind the Street Sounds sales counter, where he chatted with fans, posed for pictures, and signed autographs. Quite a few of those were on the backs of Gretsch guitars that were either brought just for the occasion, or purchased in the store that day.

Throughout the day Gretsch Guitars national sales manager Joe Carducci presided over the giveaway of valuable door prizes. These included Gretsch T-shirts and tote bags, as well as ukuleles and guitars. Lots of event attendees went home with smiles on their faces and goodies under their arms.

Todd performed with the able accompaniment of bassist Mike Moody.

For the next artist, Joe Carducci invited Dinah Gretsch up to handle the introduction. Dinah, in turn, enthusiastically cited that artist’s credits, which include six Grammy nominations and a Guinness World Record as “the fastest banjo player on the planet.” This was Todd “Banjo Man” Taylor, who—accompanied by the talented Mike Moody on bass—proceeded to demonstrate why he holds that title. The soft-spoken southern gentleman more than lived up to his reputation as a speed demon—although at one point he modestly told the audience “I do play slow…sometimes.”

The Michelle Marie trio took things in an entirely different musical direction—heavy on creativity and complex composition.

In a classic example of contrast, Todd Taylor was followed by New York-based progressive jazz guitarist Michelle Marie, playing with her trio. Known for her eclectic style, complex compositions, and impressive technique, Michelle came on with an uncharacteristic opener: A hard-rocking version of Led Zeppelin’s “Whole Lotta Love,” on which Michelle sang lead as well as playing guitar. Then it was on to a series of deep and rhythmically intricate compositions full of time and feel shifts that showcased her drummer and bass player as well as herself.

With the help of two dedicated rockabilly players from New York City, Darrel played a set full of classic Eddie Cochran, Gene Vincent, and Carl Perkins tunes—and a few originals, as well.

The 2016 Gretsch Day at Street Sounds closed with an appearance by rockabilly star Darrel Higham, who came all the way from the UK to perform at the day’s event. Relaxed and personable when speaking at the microphone, Darrel was a bundle of fiery energy when playing and singing. With a look, style, and feel directly out of rockabilly originators Eddie Cochran, Gene Vincent, and Carl Perkins, Darrel proved that he was the genuine article. He was ably accompanied by a drummer and bass player from the NYC area, and the audience responded to their set with enthusiasm and appreciation.

(Check out this full-length interview with Darrel Higham.)

Joe Carducci concluded Gretsch Day 2016 by thanking Rocky Schiano and Street Sounds for staging the event, thanking everyone in the audience for attending, and offering one more round of thanks to Fred and Dinah Gretsch for their ongoing support. A good time was had by all.

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More photos:

This giant “record” adorns the wall at Street Sounds, proclaiming ownership by the Schiano Family.

The irrepressible Joe Carducci served as emcee for the day. Joe is the national sales manager for Gretsch Guitars.

A high-quality Gretsch USA drumkit was provided for use by all of the day’s acts.

Yet another part of the wall featured a collection of beautiful “standard” professional models.

The buyer of the White Falcon guitar on the counter waited three weeks to pick up the guitar just so that Fred Gretsch could personally autograph it.

Rocky Schiano and Stephen Stern detailed this unique “aged” Custom Shop creation.

Joe Cimino (at left) flew all the way from Palm Beach, Florida to attend the Gretsch Day event. To make it even more special, he purchased a Gretsch Electromatic guitar and asked Fred Gretsch to autograph it.

Modern Drummer magazine editor-at-large (and Brooklyn native) Billy Amendola stopped by to say hello to Fred Gretsch.

Legendary guitar pickup-builder Tom “TV” Jones was called up to introduce Off The Roof.

STAY TUNED TO THE GRETSCH YOUTUBE CHANNEL FOR PERFORMANCE VIDEOS.

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Welcome Back, Vinnie Colaiuta!

Monday, June 6th, 2016

Gretsch Drums announced today that Vinnie Colaiuta has returned!

Via Gretsch Drum’s Facebook page:

We are proud to announce that legendary drummer Vinnie Colaiuta has come home to Gretsch Drums. Without question, Vinnie is one of the world’s most respected and admired drummers. Throughout his prolific, 4-decade career, his artistry has inspired and entertained legions of drummers and music fans alike. Vinnie will be taking his newly redesigned, Gretsch USA Custom Kit finished in a one-of-a-kind Cobalt Blue Lacquer with Vinnie Colaiuta signature badges out on the road with Sting on his upcoming, 19-city “Rock Paper Scissors” tour with Peter Gabriel which kicks off June 21st in Columbus, Ohio. Welcome home, Vinnie.

Vinnie Colaiuta. Photo: Michael Corral

Gretsch Drums recently restored Vinnie’s 90s signature Gretsch kit.  Experience unboxing his kit with him now!

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A Special Day: Fred Gretsch Receives Honorary Degree From Elmhurst College

Monday, May 30th, 2016

Saturday, May 28 was a red-letter day for Fred W. Gretsch. The fourth-generation leader of the Gretsch family business was presented with an honorary Doctor of Music degree from suburban Chicago’s Elmhurst College at the school’s Spring Commencement ceremony. Bedecked in classic doctoral robes, Fred—who is himself an alumnus of Elmhurst—joined more than 600 Elmhurst graduates in celebrating their memorable life passage.

Upon his arrival at Elmhurst College, Fred Gretsch was met by this congratulatory banner on the music department building.

A Bit Of Backstory

As most Gretsch fans know, the Gretsch Company was founded by Fred Gretsch’s great-grandfather in 1883, when he set up shop in Brooklyn and started making drums, tambourines, and banjos. By the early 1920s the company had grown into the largest instrument manufacturer in America. Fred Gretsch began working in the family business in the 1960s, and as a young man he looked forward to eventually taking his place as its leader. But in 1967, amid widespread change in the industry, the Baldwin Piano Company bought the Gretsch operation. Fred continued working for the company, moving his family from Brooklyn to suburban Chicago. While there he began studying business administration part-time at Elmhurst College. After graduating in 1971 he founded his own company: Fred Gretsch Enterprises. But he vowed that he would one day make Gretsch a family business again. He made good on his vow, when he and his wife Dinah bought the business back from Baldwin in 1985. Today the company makes guitars and drums for musicians who appreciate “That Great Gretsch Sound,” top-quality craftsmanship, and classic style.

The Elmhurst Degree

Elmhurst College confers honorary degrees on individuals whose commitments and achievements embody the College’s mission, vision, and core values. Fred Gretsch was recognized for his ongoing contributions to the music industry, as well as to his and his family’s stated mission, which is “to enrich people’s lives through participation in music.”

In keeping with this mission, Fred and Dinah, their family company, and the Gretsch Foundation have been generous supporters of Elmhurst College and its Department of Music. That support has funded scholarships for students of music and music business, as well as for the state-of-the-art Sylvia and William Gretsch Recording Studio (established in 1987 to honor Fred’s parents). In 1993 the Gretsch Electric Guitar Ensemble became a regular element of the music program, and in 2015 arrangements were made for the music department’s ensembles to perform exclusively on Gretsch drum kits. Gretsch has also been a major supporter of the annual Elmhurst College High School Invitational Jazz Festival, which is a regular part of the nationally recognized Elmhurst Jazz Festival.

The Commencement

Fred Gretsch and Barbara Lucks, who is chairperson of the Elmhurst College board of trustees.

The Commencement events started with a breakfast reception held in the President’s Dining Room at Elmhurst. There Fred and Dinah Gretsch met with members of the Elmhurst faculty, including interim president Larry Braskamp, board of trustees chair Barbara Lucks, and music department chair Peter Griffin. Also from Elmhurst came Dr. Larry Carroll, who is a professor of business administration, the executive director of Elmhurst’s Center For Professional Excellence, and a board member of the Sylvia And William Gretsch Memorial Foundation.

A number of friends and business associates came especially to congratulate Fred on his well-deserved honor. These included Bill Breslin and his wife Mary. Bill worked at Sears & Roebuck in Chicago when Fred was working there in the late 1960s. The two became business friends and have remained so ever since. Also present was Jeff Cary and his wife Mary. Jeff heads up the Gretsch Guitars operation for manufacturing partner Fender Musical Instrument Corporation, and was on hand to offer FMIC’s best wishes to Fred.

All the way from Statesboro, Georgia came Curtis Ricker, who is Dean of Liberal Arts and Social Sciences at Georgia Southern University. Just as the Gretsch Foundation supports the music department at Elmhurst College, so do they support similar programs at GSU. Also on hand, representing the Foundation, was trustee Rick DeMayo.

After the breakfast reception it was time for a little “Pomp And Circumstance,” as the call was given to have the graduating seniors march to their seats on the central lawn of Elmhurst’s beautiful campus. This was accomplished amid the cheers and waves of hundreds of family members on the surrounding grounds. Then the faculty members and the honorary doctoral candidate—namely Fred Gretsch—passed through the rows of students and up to the dais.

Fred shared a moment with the reverend Lance Lackore, who delivered the invocation at the commencement ceremony.

After an invocation from Reverend Lance Lackore and remarks from president Braskamp and trustees chair Barbara Lucks, it was time for Fred Gretsch’s big moment. He was called to the podium by music department chair Peter Griffin, who proceeded to cite Fred’s accomplishments as an industry figure and a philanthropic supporter of Elmhurst’s music programs. Then, with a fanfare from the college orchestra, president Braskamp officially conferred on Fred the honorary degree of Doctor of Music, “with all the rights appertaining thereto.” This was met by unanimous acclaim from the faculty and student body alike, all of whom appreciated Fred’s contributions to their school.

Music Department Chairman Peter Griffin (at podium) nominated Fred Gretsch to receive his honorary degree, citing Fred’s business accomplishments and philanthropic activities.

When it came his turn to address the crowd, Fred started simply but sincerely, saying, “I’m grateful for the honor that you’ve given me. Thank you.” Then he went on to offer two gifts to each of the graduates in attendance.

Fred Gretsch offered thanks to the college, and a few words of advice to the assembled graduates.

“The first gift,” said Fred, “is an invitation to come to lunch with me at the Gretsch studio. Send me an email or give me a call. We’ll set a date, and I’ll look forward to getting to know you better then.

“The second gift is the most important thing I’ve learned from over fifty years in the musical instrument business. And that is to tell you that relationships count. Family…friends…Elmhurst College…business associates. You’ve heard about my wife Dinah, who’s here with me today. Dinah is the love of my life, and has stood by my side in the music business for more than thirty-eight years now. You have your own family here, and your friends. And you have your relationship with Elmhurst College. Mine started in 1969 and remains strong today. Then there are business and industry relationships. Build them, value them. They’re a most important part of success for me, and they will be for you as well.”

At the conclusion of the commencement ceremony the dais party marched out first to form a “receiving line” through which all of the graduates passed. Alongside music business department director Tim Hays and music department chair Peter Griffin, Fred Gretsch made a point to shake hands and personally congratulate students from the music curriculum as they passed by. Many of those students expressed their personal gratitude to Fred for the Gretsch instruments, recording studio, and scholarships that had helped them and their fellow music students to succeed at Elmhurst.

The Celebration Continues

The day concluded with a luncheon for the faculty and guests. On his way in, Fred Gretsch met graduating senior Jane Gooby, who had worked closely with Larry Carroll in the administration of Gretsch scholarships at Elmhurst. Though she shyly admitted that she was not a music major, she had decorated her graduation cap with the Gretsch logo, accompanied by a guitar and the words “Rock Your Role.”

Fred Gretsch presented an inscribed copy of The Gretsch Drum Book to Elmhurst president Larry Braskamp. The inscription applauds the college’s faculty and staff.

At the luncheon itself Larry Carroll presented a framed certificate congratulating Fred Gretsch on behalf of the board of the Sylvia and William Gretsch Memorial Foundation. Shortly after, Fred presented his own gift, this time to Elmhurst College. It was a copy of The Gretsch Drum Book, inscribed to the faculty and staff of the school and honoring them for their teamwork and accomplishments.

Comments From The College

A number of Elmhurst faculty members expressed personal sentiments regarding Fred Gretsch’s contributions to the college, and his reception of an honorary doctorate. The first comes from Vice President for Development and Alumni Relations Joseph Emmick, who comments, “We’re pleased to recognize and honor Fred Gretsch. Who better to receive an honorary degree than someone who has distinguished himself in his generosity and service to his alma mater, his industry, and the music community? Fred and Dinah together form one of the music industry’s most formidable teams, and their international success enhances Elmhurst College’s reputation across the globe.”

Music Business Department Director Tim Hays (left), Fred Gretsch, and Professor Griffin.

Music Business Department Director Tim Hays says, “Fred Gretsch’s support has helped us develop one of the top music business programs in the country, from the Gretsch Music Business Student Scholarship fund to his many other gifts. The College, the Music Department, and generations of students have benefited from his vision and generosity. “

Elmhurst Sound Recording instructor John Towner comments, “Over the years, Fred Gretsch has taken a real interest in funding college facilities and equipment. For example, ever since its implementation in 1987, the Sylvia and William Gretsch Recording Studio has been a real treasure for our music students. In addition to allowing those interested in the recording field to hone their craft, the studio has also been the site of countless recordings made by students in a myriad of styles. We are profoundly grateful to Mr. Gretsch for this.”

Director of Jazz Studies (and the Elmhurst College Jazz Band) Doug Beach adds, “Fred Gretsch’s impact on the Music Department at Elmhurst College has been immense. Over the years, he has provided primary funding for the High School Invitational Jazz Festival, an event that has become an integral part of the larger Elmhurst College Jazz Festival. He is certainly one of the most loyal alums that the Music Department has.”

Music Department Chair Peter Griffin concludes, saying, “We’re proud of our longstanding relationship with the Gretsch Family, the Gretsch Foundation, and the Gretsch Company. Their generosity provides our students with opportunities they might not otherwise enjoy. We look forward to a continuing partnership in providing those students with the best possible educational experiences.”

Elmhurst President Larry Braskamp, Fred Gretsch, and Professor Peter Griffin.

Final Words From Fred

Fred Gretsch himself summed up his feelings at the conclusion of the Commencement ceremony, saying, “When it comes to enriching people’s lives through participation in music around the country and around the world, I recognize that Elmhurst is a great place to start. I look forward to working with the college to create more music-makers in the generations ahead.”

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On The Passing Of Remo Belli

Friday, May 6th, 2016

The Gretsch family joins everyone in the drum and percussion industry in mourning the passing of Remo Belli on April 25. As a veteran of that industry myself, I had the pleasure of knowing Remo for many years on a personal and professional basis. My wife Dinah and I shared visits with him at trade shows and other drumming events, and we always enjoyed our time together.

But Remo’s connection to the Gretsch family goes back much further. My uncle, Fred Gretsch Jr., was a little more than twenty years older than Remo. When Remo was touring as the drummer for Anita O’Day and bandleader Billy May in the 1950s, Uncle Fred was running the Gretsch business. He welcomed Remo into the fold as a Gretsch drum artist. In fact, Remo’s smiling face graces the cover of the 1954 Gretsch drum catalog—right next to Louie Bellson, and in the company of other drum greats like Art Blakey, Jo Jones, and Shelley Manne.

Remo Belli on Cover of 1954 Gretsch Drums Catalog

Just a few years later, when Remo went into business himself, Uncle Fred supported his efforts by becoming a major customer for his Weather King synthetic drumheads. Remo heads are still factory-installed on Gretsch drums today.

Fast-forward to when I entered the drum business fifty years ago. Returning the favor that my uncle had done for him, Remo (who was a little less than twenty years older than I am) served as a mentor to me, offering sound business tips and valuable personal advice. Over the ensuing years I came to cherish his friendship, his guidance, and his unparalleled professional example. I will miss those things—and Remo himself—tremendously.

Fred W. Gretsch
4th Generation President
The Gretsch Company

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Guitar Legend Duane Eddy

Wednesday, March 16th, 2016

How a simple introduction by a Beatle 25 years ago led to two Gretsch signature models, and a long friendship with “The King of Twang.”

By Fred W. Gretsch

Back in 1991, my wife Dinah and I attended a music trade show in London with friends from the Hohner Company, Gretsch’s distribution partner in the UK at the time. Hohner had created an impressive display to showcase the new line of Gretsch guitars we had just introduced. They even commissioned an artist to paint a 40-foot mural featuring several Gretsch guitar players and the Traveling Wilburys band.

When we arrived in London, we reached out to George Harrison and suggested getting together, and he responded that he would like to see us while we were in town. We had gotten to know George several years earlier after Dinah sent him a thank-you note for featuring his vintage ’57 Gretsch Duo Jet on the cover of his Cloud Nine album. That led to a call from George thanking Dinah for the note, chatting about guitars, and inviting us to a recording session to see the vintage Gretsch guitars being used for the upcoming Traveling Wilburys Vol. 1 album. George was also involved in helping design the Gretsch Traveling Wilburys electric guitar.

London Mural 1991

Fred Gretsch, London 1991

You can imagine how surprised we were when a member of the trade show’s management team came to the Gretsch booth to say George was at the front door of the exhibition hall asking to see us. Dinah and I literally ran to the front door and happily arranged credentials for George and two friends he had brought along: Jeff Lynne and Duane Eddy.

It was the first time I had met Duane, who, like George, was a fan of the sound and looks of Gretsch guitars. He shared the story of the Chet Atkins 6120 model guitar he had bought at Ziggie’s Music in Phoenix back in 1957. It was the guitar he used on all of his “twangy” instrumental hits like “Rebel Rouser,” “Forty Miles of Bad Road,” and “Peter Gunn”, and he still performed and recorded with it 34 years later.

After meeting in London, I corresponded and stayed in touch with Duane for several years and shared my interest in offering a Gretsch Duane Eddy signature model. He was intrigued, met with me and our team at our Ridgeland, SC facility, and brought his original ’57 Gretsch along so we could measure and document the details of his iconic guitar.

In 1997, 40 years after purchasing his ’57 Chet Atkins 6120 guitar, Gretsch proudly introduced the G6120-DE Duane Eddy signature model. It was a reproduction of Duane’s famous ’57 6120 and was available in both a Western Orange finish and a cool-looking Ebony Burst finish that Duane suggested.

Duane and Ted McCarty, 1997

We kicked off the release of the new Duane Eddy 6120 at the 1997 Summer NAMM Show in Nashville. Gretsch sponsored a gala dinner that paid tribute to both Duane and guitar industry veteran and family friend, Ted McCarty. With Mr. McCarty getting the recognition he so rightfully deserved, and Duane and his band of Nashville session pros playing a rollicking hour-long set, it was a memorable night and one of the highlights of my 51-year career in the music business.

Today, Gretsch offers a second generation Duane Eddy signature model that is even closer to the sound and feel of the 6120 Duane purchased as a teenager nearly 60 years ago. So close, in fact, that Duane finally retired his ’57 6120 because he said his new signature model has the same sound and punch of his ’57 Gretsch, along with the slim-profiled neck he always liked on his original guitar. Duane worked very closely with Gretsch Custom Shop Master Builder Stephen Stern and his team to both faithfully reproduce Duane’s legendary ’57 6120, and add some modern improvements like trestle bracing and a new Tru-Arc rocking bar bridge for more “twang” and sustain. In Duane’s words, the current Duane Eddy model is the best of the old world and the new world.

Duane Eddy Performing at Fred Gretsch's 50th Anniversary Event in Brooklyn

Over the years, Duane and his wife, Deed, have become very dear friends to Dinah and me. We visit with them often and have seen him perform many times. He even performed at my Fiftieth Anniversary Bash in Brooklyn last year and appeared with me recently at a special event that kicked off the opening of the Bachman-Gretsch Collection Exhibit at the Country Music Hall of Fame and Museum in Nashville.

It’s always special to see Duane and enjoy his dry sense of humor, colorful stories, and, of course, his music. He is a true living legend and an original. Duane’s twangy guitar instrumentals sold millions of records, influenced thousands of young guitarists (like George Harrison) – and helped sell a lot of Gretsch guitars. It’s hard to put a price tag on all of that. It’s even harder to put a price tag on a friendship that has lasted more than 25 years. Thank you again, George, for introducing me to Duane Eddy “all those years ago.”

The Eddys and the Gretsches at the Bachman-Gretsch Collection Exhibit Opening, Country Music Hall of Fame and Museum, January 2016

To read an exclusive interview with Rock and Roll Hall of Famer Duane Eddy where he shares stories about Gretsch guitars, his friendships with George Harrison and the Gretsch family, and his nearly 60-year music career, please visit http://www.gretsch.com/an-interview-with-duane-eddy

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Seventy-five Vintage Guitars from the Bachman-Gretsch Collection Sparkle and Shine at Nashville Museum Exhibit

Monday, January 18th, 2016

A historical collection of vintage, rare, and one-of-a-kind Gretsch guitars is now on display at The Country Music Hall of Fame® and Museum in Nashville, Tennessee. The new exhibit, American Sound and Beauty: Guitars from the Bachman-Gretsch Collection, features 75 of the more than 300 Gretsch guitars amassed by Canadian musician Randy Bachman of The Guess Who and Bachman Turner Overdrive fame. It is the largest collection of guitars ever displayed at the Museum and marks the first time the public has seen a part of Bachman’s extensive Gretsch collection, considered the largest in the world. The Gretsch Foundation, the charitable arm of the Gretsch family, purchased the collection in 2008.

Several rare and one-of-a-kind vintage Gretsch guitars from the 1960s on display at the Country Music Hall of Fame and Museum. Photo by Ron Denny/The Gretsch Company.

Fred Gretsch, fourth generation Gretsch Company president, and wife Dinah, CFO and executive vice president, were joined by family, friends, and legendary musicians at a special preview and reception hosted by the Museum on Thursday night, January 14.

Gretsch President Fred Gretsch sharing remarks about the Bachman-Gretsch Collection. Ben Hall, Major Gifts Manager at the Country Music Hall of Fame® and Museum, holds the Gretsch Company’s 130th Anniversary history poster. Photo by Ron Denny/The Gretsch Company.

Gretsch shared that he never imagined a phone call made to Randy Bachman more than 30 years ago asking for his help would lead to this special exhibit. After buying back the family business from the Baldwin Company in 1984, Gretsch needed vintage Gretsch guitars to use as prototypes. “Randy was kind enough to share several of his guitars from his collection,” said Gretsch. “We are forever grateful for his assistance in helping launch that first generation of new Gretsch guitars.”

Gretsch also thinks “American Sound and Beauty” is an appropriate name for the exhibit. “The guitars on display are as American as it gets,” said Gretsch. “Most were built in Brooklyn, New York at The Gretsch Building, a building my grandfather Fred Gretsch Sr. constructed and opened 100 years ago in 1916.”

“These guitars also contributed their unique sound to the evolution of popular American music, including jazz, country, and of course, rock ‘n’ roll,” continued Gretsch, “Plus, Gretsch ushered in a new era of colorful and sparkly guitar finishes in the 1950s. The guitars on display are just beautiful and look like true works of art in the Museum.”

Gretsch closed his remarks at the reception by honoring Chet Atkins, the most important endorser of Gretsch electric guitars, and the musician that influenced a long list of artists including Duane Eddy, Paul Yandell, George Harrison, Neil Young, Stephen Stills, Brian Setzer, Steve Wariner, Joe Robinson, Tommy Emmanuel, and Randy Bachman. (Fred Gretsch’s remarks in their entirety can be seen below.)

Steve Wariner Performs at Exhibit Opening Reception.

Rock and Roll Hall of Famer Duane Eddy followed Gretsch on the program and shared the important role Gretsch guitars had in developing his legendary “twangy” sound. Eddy bought his first Gretsch Chet Atkins Model 6120 in 1957, and Gretsch offers a current Duane Eddy Signature Model almost 60 years later. Country Music singer, songwriter, and guitarist Steve Wariner closed the program with a tasteful instrument tribute to his late friend and mentor, Chet Atkins.

During the exhibit’s opening weekend on Friday, January 15, and Saturday, January 16, Gretsch guitar expert and author Edward Ball conducted Gallery Talkback sessions entitled “The Gretsch Legacy” in the Museum’s Taylor Swift Education Center.  A variety of special programs will be scheduled throughout the length of the exhibit.

American Sound and Beauty: Guitars from the Bachman-Gretsch Collection will be on display through July 10, 2016. For more information about the exhibit, visit countrymusichalloffame.org. To learn more about Gretsch guitars, visit gretschguitars.com.

Fred Gretsch’s Reception Remarks:

On behalf of five generations of the Gretsch Family, it is my honor to welcome you as we celebrate the opening of the Exhibition titled:  American Sound and Beauty, Guitars from the Bachman-Gretsch Collection.  Thank you for joining us this evening.

We never imagined a phone call made to Randy Bachman 30 years ago asking for his help would lead to this special exhibit. After buying back the family business from Baldwin in the mid-80s, we had to literally start from scratch in developing the new line of Gretsch guitars. We had heard of Randy’s vast collection and asked him if we could borrow several of his vintage Gretsch’s so we could measure them, spec them, and use them to build prototypes as close to the original formula as possible. Randy was kind enough to say “Yes” and we are forever grateful for his assistance in helping launch that first generation of new Gretsch guitars.

We think “American Sound and Beauty” is an appropriate name for this exhibit. The guitars displayed here are as AMERICAN as it gets.  They were built in Brooklyn, New York, on the seventh floor of The Gretsch Building. A building my grandfather, Fred Gretsch Sr., constructed & opened 100 years ago in 1916 and it still stands today. (But instead of making guitars and drums that look like a million bucks, The Gretsch Building now is condos you can buy for a million bucks…)

And SOUND. These vintage guitars on display – as well as new Gretsch guitars that were shipped out today – have a special SOUND that is “Uniquely Gretsch”. It’s part of the recipe we want to preserve so “That Great Gretsch Sound” will continue for future generations to discover and enjoy.

And BEAUTY. Gretsch guitars have a long reputation for their cool, colorful looks. We were pioneers in the 1950s that added new palettes of colors and two-tones and sparkle to the guitar world that had long been dominated by natural and sunburst finishes. One of my memories of working at The Gretsch Building were seeing all the racks of finished, gleaming, and beautiful Gretsch guitars. They were handsome indeed.

It’s also ironic that 75 Gretsch guitars out of a collection of more than 300 instruments were selected to be on display for this exhibit. When I joined the Gretsch Company full-time in 1965, it was at the height of the guitar boom (thanks to Chet Atkins, George Harrison, and The Beatles), and we were scrambling to build and ship out our new goal of 75 guitars a day.

We are here tonight because of exceptional people – giants in my mind – that were and are exceptional influencers. My great-grandfather, Friedrich Gretsch, my grandfather, Fred Gretsch, Sr., my father, Bill Gretsch, my uncle, Fred Gretsch, Jr., Jimmie Webster, Duke Kramer, Phil Grant, and Dinah Gretsch; exceptional leaders all on behalf of the Gretsch business just to name a few.

Equally as tall are our artist partnerships that started with Billy Gladstone back in the 1930s. We think you will agree the most important partnership – and the one that put Gretsch guitars on the map – was our endorsement with Chet Atkins. A partnership that endures 60+ years later.

The 130 year Gretsch history poster I have here lets me use pictures to say a thousand words. The left half of the poster from your perspective is popular music from the 1880s until Rock and Roll was born. Think even before radio when the player piano and the phonograph were the high tech products of their day.  The Gretsch business in that era was primarily all about supplying instruments for music education, marching bands, and making banjos and parlor guitars.

Chet Atkins stands out right in the middle of this poster. He ushers in a new era of popular music at the forefront of Rock and Roll when the electric guitar was now becoming the star, both in the recording studio and on stage. His partnership with the Gretsch family was to influence a long list of artists including Duane Eddy, Paul Yandell, George Harrison, Neil Young, Stephen Stills, Brian Setzer, Steve Wariner, Joe Robinson, a six-year-old boy in Australia named Tommy Emmanuel, a teenager in Canada named Randy Bachman, and thousands more.

In closing, it all comes full circle now in our celebration here this evening.  We are reminded how important it is for us to welcome and encourage new generations of musicians & their music to keep the circle unbroken.  How important it is to be a positive influence to others, and how important it is to support music education – something that is very near and dear to Dinah and me, and is the primary mission of the Gretsch Foundation, who incidentally has owned the Bachman-Gretsch Collection since 2008.

And speaking of music education, I would be remiss by not recognizing Andy Mooney, the new CEO of Fender Musical Instruments who is here with us this evening.  He is our partner in the worldwide marketing and distribution of Gretsch guitars. Andy not only leads the number one guitar company in the world, but has initiated a new digital products division dedicated to making it easier and more fun to play the guitar, to help players connect with other players, and to help beginners who pick up a guitar get through the crucial first 12 months of the learning cycle to make a lifelong commitment to enjoying the guitar. Thank you, Andy.

On behalf of Dinah and me, we would like to congratulate our partners, the Country Music Hall of Fame and Museum, for their world-class presentation of this historic exhibit.  Special thanks also go out to Carolyn Tate, Kyle Young, Steve Turner, Mick Buck, and John Reed.  And just as important, we salute their work on behalf of musicians of all ages showcased in their distance learning programs and in the work of the Taylor Swift Educational Center.

Thanks again for joining us this evening.

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Gretsch Greatest Hits…and Hitters

Wednesday, August 26th, 2015

Phil Collins: The Unmistakable Man

by Fred W. Gretsch

Considering the enormity of Phil Collins’ success as a solo artist in the 1980s and 90s, it might surprise some people to learn that he first came to musical prominence as the drummer in an equally successful band almost a decade earlier. That band was Genesis, and their unique brand of early progressive rock was powered by Phil’s innovative style and unmistakable sound.

Phil joined Genesis in 1970 for their third album, Nursery Cryme, and he went on to help catapult the band to international fame. His drumming combined a great feel (based heavily on his love for groove-based ’60s soul music) with quick footwork, uniquely effective accents, and burning fills that left drummers shaking their heads in amazement and admiration. When original lead singer Peter Gabriel left the group in 1975 Phil stepped out front to take Gabriel’s place. His drumming chores on live performances were taken over first by Bill Bruford and later by Chester Thompson, but Phil continued to provide the dynamic drumming on all Genesis recordings throughout the band’s lengthy career.

Phil also holds the distinction of having created and played what may be the most universally recognized drum fill in the history of popular music: the classic descending-toms break in his mega-hit “In The Air Tonight” (from his 1981 solo album Face Value). That fill alone—probably the most air-drummed of all time—sets Phil squarely in the pantheon of drumming greats. And although not many people know it, Phil played drums on the famous Band Aid single “Do They Know It’s Christmas?” which spent the early weeks of 1985 at the top of the charts and has been a holiday staple ever since.

Phil's Gretsch Kit

Throughout most of his career Phil performed his dynamic drumming on a Gretsch drumkit that was, to put it mildly, different from the kits of his contemporaries (and remains so to this day). First off, it was a “lefty” kit, owing to Phil’s left-handedness as a player. Next, it featured a bevy of single-headed rack and floor toms that produced the deep, powerful attack that contributed to Phil’s trademark sound. Phil tended to sit low, so the kit seemed to surround—and nearly obscure—him as he played. But his talent and creativity—and the kit’s Great Gretsch Sound—always commanded his audiences’ attention.

Sadly, health issues led Phil to retire from drumming in 2011. Fortunately, recordings and videos of his playing with Genesis, with other performers, and as a solo artist abound today. Those recordings serve as a testament to Phil’s personal drumming prowess—and his contribution to drum history itself.

Phil On Display

A full-concert clip from 1973 documents Genesis’s early incarnation as a progressive/“art” rock band, largely due to the theatrics of singer Peter Gabriel. But it also showcases Phil Collins’ contribution to the group’s seminal sound.

By 1987 Genesis was a very different group, with Phil out front on vocals. But he always returned to the drumkit at every show, as on this live concert from England’s Wembly stadium. Check out his drumming duet with Chester Thompson about 3/4ths of the way through the show.

The original “official” video for Phil’s 1981 super-hit “In The Air Tonight” seems a little dated today…but the classic drum fill sounds as powerful as ever.

An absolutely fabulous full-concert clip of Phil playing with a crack band in Paris at the height of his solo career. Phil opens the show on drums, and later participates in a terrific drum feature with second drummer Ricky Lawson and percussion great Luis Conte.

On Phil’s “First Farewell Concert” tour in 2004, Phil and Chester Thompson performed a dynamic drumming duet that must be seen and heard to be believed.