{"id":142835,"date":"2023-12-17T06:00:00","date_gmt":"2023-12-17T14:00:00","guid":{"rendered":"https:\/\/acousticguitar.com\/?p=142835"},"modified":"2023-12-15T10:44:37","modified_gmt":"2023-12-15T18:44:37","slug":"tommy-emmanuel-shines-with-a-team-of-top-acoustic-players-on-accomplice-two","status":"publish","type":"post","link":"https:\/\/acousticguitar.com\/tommy-emmanuel-shines-with-a-team-of-top-acoustic-players-on-accomplice-two\/","title":{"rendered":"Tommy Emmanuel Shines with a Team of Top Acoustic Players on \u2018Accomplice Two\u2019"},"content":{"rendered":"\n<p>When I was growing up in Australia in the 1990s, <a href=\"https:\/\/acousticguitar.com\/tommy-emmanuel-trio-collaboration-accomplice-series-volume-1\/\">Tommy Emmanuel<\/a> was a household name\u2014and not just to guitar players. He was as synonymous with the instrument as legends like Eric Clapton and Jimi Hendrix and Slash. Early Emmanuel albums like <em><a href=\"https:\/\/amzn.to\/3R0HIy2\">Dare to Be Different<\/a> <\/em>(1990) and <em><a href=\"https:\/\/amzn.to\/47PVISi\">Determination<\/a> <\/em>(1991) were textbooks on guitar styles, melody, tone, and quality. They were predominately electric guitar outings with a band, but usually included one or two solo acoustic pieces, like \u201cBlue Moon\u201d and \u201cInitiation,\u201d that made me wonder if one person was really playing all that music or if studio tricks were at work.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/amzn.to\/46ASMYH\"><img fetchpriority=\"high\" decoding=\"async\" width=\"750\" height=\"750\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/11\/Tommy-Emmanuel-Accomplice-Two.jpg?resize=750%2C750&#038;ssl=1\" alt=\"\" class=\"wp-image-142846\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/11\/Tommy-Emmanuel-Accomplice-Two.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/11\/Tommy-Emmanuel-Accomplice-Two.jpg?resize=500%2C500&amp;ssl=1 500w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/11\/Tommy-Emmanuel-Accomplice-Two.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/11\/Tommy-Emmanuel-Accomplice-Two.jpg?resize=300%2C300&amp;ssl=1 300w\" sizes=\"(max-width: 750px) 100vw, 750px\" data-recalc-dims=\"1\" \/><\/a><\/figure>\n\n\n\n<p>Emmanuel appeared on our late-night, breakfast, and variety television shows almost weekly, it seemed. He could be seen playing songs from his latest albums or featured as the guest guitar player for a famous Australian pop star on his trusty Telecaster, or ever increasingly on a Maton acoustic.<\/p>\n\n\n\n<p>By the time I was opening shows and touring with Emmanuel in Australia in the early 2000s, he was playing solo acoustic exclusively. These sets were absolutely annihilating, with Emmanuel delivering the impact (and almost the volume) of a full rock band with just one acoustic guitar. We would perform a couple of duets a night, usually \u201cDetermination\u201d and \u201cWorking Man\u2019s Blues.\u201d Playing on stage with Emmanuel was\u2014and still is\u2014unbelievably daunting, but he is incredibly supportive and generous, with the focus always being about delivering the song to the audience.&nbsp;<\/p>\n\n\n\n<p>It\u2019s no surprise that Emmanuel has turned his hand again to collaboration with his <em><a href=\"https:\/\/amzn.to\/46ASMYH\">Accomplice<\/a><\/em> series of releases, bringing some of the finest acoustic musicians in the world\u2014among them, David Grisman, Sierra Hull, Billy Strings, and Molly Tuttle\u2014into the studio and making the songs the focus. Not long ago, I caught up with Emmanuel via Zoom and chatted about this exciting and collaborative phase of his long career.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe class=\"youtube-player\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/QnUG-SgILy8?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><figcaption class=\"wp-element-caption\"><em>Doc\u2019s Guitar\/Black Mountain Rag<\/em>, Tommy Emmanuel &amp; Billy Strings<\/figcaption><\/figure>\n\n\n\n<p><strong>How did <em><a href=\"https:\/\/amzn.to\/46ASMYH\">Accomplice Two<\/a><\/em> come about?\u00a0<\/strong><\/p>\n\n\n\n<p>I had finished the <em><a href=\"https:\/\/amzn.to\/3QWqHoP\">Tommysongs<\/a><\/em> project, and I got playing with Little Feat and the Nitty Gritty Dirt Band on a few shows. It was exhilarating and fun, and just great to play with those guys. I got to know them really well and started thinking I\u2019d like to do some things with them.<\/p>\n\n\n\n<p>I also had a few tracks that carried over from the <em><a href=\"https:\/\/amzn.to\/47TQN2w\">Accomplice One<\/a><\/em> project. I had the Roy Book Binder song with Jorma Kaukonen, \u201cAnother Man Done a Full Go Round,\u201d and I had \u201cMama Knows\u201d with Jerry Douglas. I had \u201cSeven Come Eleven\u201d with David Grisman as well. Michael McDonald had also sent me three songs during Covid.<\/p>\n\n\n\n<p>Then my manager and I decided we\u2019d start a list of artists that we wanted to work with. So I quickly contacted Billy Strings, and he said he would love to do it. I got to play with Molly Tuttle on an Americana music cruise, and so I just rang her and said, \u201cHow about we record \u2018White Freight Liner Blues\u2019?\u201d&nbsp;<\/p>\n\n\n\n<p>Last year was busy, but things just somehow came together when I was off the road. Brian Penix, my manager, said, \u201cOh, Nitty are gonna be in town on that day; Little Feat are coming through on tour on this day. If we book the studios together there, then we can get them in.\u201d And so he helped me mastermind the whole thing.&nbsp;<\/p>\n\n\n\n<p><strong>You produced the record. Was everyone stepping into your world, or the other way around?<\/strong><\/p>\n\n\n\n<p>I was totally going into their world. With Nitty Gritty we recorded with us singing vocals and me playing acoustic guitar all live. I got Mike Bub to come in and play upright bass because I wanted a real bluegrass sound on that. And that guy is smoking. He plays on everyone\u2019s records here; he\u2019s brilliant.<\/p>\n\n\n\n<p>The track with Jorma was recorded with no click track\u2014just the two of us sitting there. When you play a song like \u201cAnother Man Done a Full Go Round\u201d with Jorma, he\u2019s off to the races straight away! He\u2019s playing and singing pretty much in the Robert Johnson style, serving the song and the words. So we got a good take on the vocals, and then I played drums on it with this kind of sloppy backbeat. When you listen to the track, it sounds like a bar band playing.<\/p>\n\n\n\n<p><strong>Were you playing with any of these artists for the very first time on these sessions?&nbsp;<\/strong><\/p>\n\n\n\n<p>Well, I\u2019d never played with Michael McDonald before, but I played on some tracks where he was the singer. Sierra Hull and I did my song \u201cPrecious Time.\u201d I went over to her house, and she recorded me playing the song on her phone. I came back the next day, and it sounded like it does on the recording. I just let her do what she does on her old Gibson mandolin, because she\u2019s so good. She\u2019s a great song player\u2014she\u2019s sensitive. She knows when to get into it and when to hold back. She\u2019s like 100 years old, but she\u2019s only 30 or something.&nbsp;<\/p>\n\n\n\n<p><strong>It sounds really deep on the recording in the way her mandolin fits with your guitar. She\u2019s got that incredible touch.&nbsp;<\/strong><\/p>\n\n\n\n<p>I watch a mandolin player, and they just make it look so easy, with all this music coming out.I\u2019ve tried many times to play the instrument, but I just can\u2019t get my head around that tuning [like a violin, in perfect fifths, G D A E ].<\/p>\n\n\n\n<p><strong>Yeah, I suggest the ukulele when someone wants me to play mandolin.<\/strong><\/p>\n\n\n\n<p>I used to play mandolin on people\u2019s records in Sydney, back in the late \u201970s and early \u201980s, but in ukulele tuning. I could fool you into thinking I was a real mandolin player.<\/p>\n\n\n\n<p><strong>How did you go about picking the songs for the record?<\/strong><\/p>\n\n\n\n<p>That\u2019s the most important thing\u2014you\u2019ve gotta have the right song! It all came together pretty naturally. Michael McDonald, for instance, sent me three songs that were all good. \u201cSomebody Like You\u201d gave me a chance to play the hook lines around the piano, and then take a little solo, but still feature him all the way.&nbsp;<\/p>\n\n\n\n<p>The last track on the album, \u201cFar Away Places,\u201d is with Raul Malo from the Mavericks. Raul and I met on a music cruise when he came up to me in a restaurant and said, \u201cI love the way you play \u2018Moon River.\u2019 Would you like to do it on the show tonight?\u201d He called me up in the middle of the Mavericks\u2019 set; we did the song completely unrehearsed, and he nailed it 100 percent. I asked him right then to do a track with me. I said, \u201cWhat do you like to sing?\u201d And he said, \u201cI like Sam Cooke songs.\u201d<\/p>\n\n\n\n<p>\u201cFar Away Places\u201dwas to me an obvious choice, because I had enough up-tempo songs on the album and I needed something beautiful to give us a feel like we\u2019re being serenaded. The way he sings is amazing, not to mention his diction. There\u2019s no pitch control, none of that bullsh*t. This is a real guy singing into a real mic. I worked out the arrangement of the song, and I decided to go with nylon-string for the main rhythm part, steel-string for the melody, and then to just kind of fade into the background. I was fanning across the strings with my [picking-hand] fingers to give it this subtlety.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"750\" height=\"500\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/11\/Tommy_LIVE_Credit_Simone_Cecchetti.jpg?resize=750%2C500&#038;ssl=1\" alt=\"Tommy Emmanuel live with guitar\" class=\"wp-image-142847\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/11\/Tommy_LIVE_Credit_Simone_Cecchetti.jpg?w=750&amp;ssl=1 750w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/11\/Tommy_LIVE_Credit_Simone_Cecchetti.jpg?resize=500%2C333&amp;ssl=1 500w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/11\/Tommy_LIVE_Credit_Simone_Cecchetti.jpg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"(max-width: 750px) 100vw, 750px\" data-recalc-dims=\"1\" \/><figcaption class=\"wp-element-caption\">Tommy Emmanuel live. Photo: Simone Cecchetti<\/figcaption><\/figure>\n\n\n\n<p><strong>What about the tracks like your original composition \u201cMombasa\u201d with Yasmin Williams? Was that your choice?<\/strong><\/p>\n\n\n\n<p>Yes. When I first met Yasmin about four years ago, our first conversation revolved around \u201cMombasa\u201d because she loves the song. She doesn\u2019t play anything like I do\u2014she\u2019s a completely unique guitarist\u2014and I said to her, \u201cYou just follow me and we\u2019ll just see what happens.\u201d So I start the song off quoting the melody really slowly, and she plays a few things in response on her kalimba. Then I finally get to the point where I set the time up, and she joins right in on her guitar. She takes a solo at the end. I also did a little solo when we recorded it, but when I mixed the track I got rid of mine and made hers the featured one because it\u2019s so different and unique. I kept the time whilst we recorded and added the drum loop afterwards.<\/p>\n\n\n\n<p><strong>What have you learned from collaborating with this variety of musicians?<\/strong><\/p>\n\n\n\n<p>I think I\u2019m becoming a better listener with age. When I was young, I had ten ideas to throw at you, you know. But now I listen to it to make sure that whatever I play serves the music. When you\u2019re producing something where you want another artist to be the feature, you have to give them the right platform. And that\u2019s the song, and the choice of instruments on the song, and all that stuff.<\/p>\n\n\n\n<p><strong>How do you approach refining the melodies and parts in these songs? Does it happen naturally, or is it something that you work on?<\/strong><\/p>\n\n\n\n<p>I put my producer\u2019s cap on. I\u2019m thinking outside the box, stepping back and looking at the song. What does it need? That\u2019s why with \u201cDaddy Frank\u201d I quoted the original iconic parts by Roy Nichols, but I did a kind of a slightly bebop- or Western swing\u2013sounding lick that made it a lot different than the Merle Haggard original. Then I doubled it on the acoustic, and it\u2019s just like a little hook thing underneath all the vocals.<\/p>\n\n\n\n<p><strong>You\u2019re praised for your jaw-dropping technique, but I think the most amazing thing about you is your ability to interpret a melody.<\/strong><\/p>\n\n\n\n<p>On a song like \u201cDaddy Frank\u201d that has a great melody, I don\u2019t stray too far from the original. But neither did Jamie Johnson, the singer, out of respect for Merle Haggard. He\u2019s saying it in his way, but really close to the original. Same with the parts in the bridge; I wanted to stay faithful to the original but add something that was melodic and unique.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe class=\"youtube-player\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/3t2PsJXpR9A?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><figcaption class=\"wp-element-caption\"><em>Daddy Frank (The Guitar Man)<\/em>, Tommy Emmanuel with Jamey Johnson<\/figcaption><\/figure>\n\n\n\n<p><strong>How do you prefer to record your acoustics?<\/strong><\/p>\n\n\n\n<p>With the right engineer! People all think that I must have a lavish house with a big studio, and that couldn\u2019t be further from the truth. I have a very simple little home and I use my iPhone\u2019s Voice Memo app for my studio\u2014I just put the phone about a foot away from me, don\u2019t play too hard, and the demos sound nice. I don\u2019t want a studio; I don\u2019t have time to go learning how to use all this new technology. I\u2019m interested in working with someone who really knows how to record and make a sound that I really like. I can always hear a bad choice of microphone, or if they\u2019re using too much pickup. All that stuff drives me crazy.&nbsp;<\/p>\n\n\n\n<p>When I turn up at the studio to record with Rory Rositas or Brad Benge, they\u2019ve already got their choice of microphones and where they think the best placement is. I come in with new strings on the guitar, put the headphones on, sit, and play, and it\u2019s already beautiful. With Rory we use a matched pair of [Neumann] KMs or something like that.&nbsp;<\/p>\n\n\n\n<p><strong>They must be in the piano stereo configuration\u2014getting the high and low strings separated.<\/strong><\/p>\n\n\n\n<p>You get the top and bottom, yeah. And then about a foot and a half back is an old ribbon mic, which gives an element of grit to everything. I don\u2019t know how that works, but you take it away, and it sounds like there\u2019s something missing. As soon as you add the old ribbon mic in, it\u2019s just like everything is real.<\/p>\n\n\n\n<p><strong>Do you have any plans for future solo releases?<\/strong><\/p>\n\n\n\n<p>I\u2019m about to start on the next <em>Tommysongs<\/em> project, which would be another double album of 24 original songs. I\u2019ve also got a couple of new pieces that I\u2019m really happy about, and I can\u2019t wait to get in and record. <\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>What He Plays<\/strong><\/h3>\n\n\n\n<p>On <em>Accomplice Two,<\/em> Emmanuel used a wide range of acoustic guitars. On the tracks with Molly Tuttle and Billy Strings, he played his Pre-War 000-28. \u201cIt\u2019s an exact replica of David Grisman\u2019s Martin 000-28 from 1930,\u201d Emmanuel says, \u201cexcept it\u2019s louder and more in tune.\u201d&nbsp;<\/p>\n\n\n\n<p>On \u201cPrecious Time\u201d and \u201cMama Knows,\u201d he used a Larriv\u00e9e C10 that Jean Larriv\u00e9e gave him when he was working with Chet Atkins in Nashville years ago. On many other songs, Emmanuel used his Maton TE Personal.&nbsp;<\/p>\n\n\n\n<p>All of his steel-stri\u00e5ng guitars are set up with his signature Martin strings: <a href=\"https:\/\/amzn.to\/3GhP77d\">MA540FX Tommy\u2019s Choice Authentic Flexible Core 92\/8 phosphor bronze, .012\u2013.054<\/a>.<\/p>\n\n\n\n<p>On the <em>Accomplice Two<\/em> tracks with Michael McDonald and Raul Malo, Emmanuel played a custom Kirk Sand nylon-string custom made with flamenco tonewoods\u2014maple and other light-colored woods.&nbsp;<\/p>\n\n\n\n<p>Onstage, Emmanuel\u2019s main guitar is his Maton TE Personal, with Queensland maple back and sides and a spruce top. He has several other Matons in his stage arsenal, including a cutaway Australian, an experimental model built by former head Maton luthier Andy Allen with a carbon fiber\u2013reinforced neck. Emmanuel keeps that guitar in G6 tuning (D G D G B E), which he learned from Chet Atkins.&nbsp;<\/p>\n\n\n\n<p>\u201cI also play a low-tuning guitar I call the Mega Mouse,\u201d Emmanuel says. \u201cIt\u2019s similar to the TE Personal, except it\u2019s a jumbo size. That guitar sounds killer.\u201d The Mega Mouse has heavy strings\u2014D\u2019Addario nickel bronze, .013\u2013.056\u2014and is tuned to dropped D, down a whole step to C G C F A D.<\/p>\n\n\n\n<p>All his stage guitars use the Maton AP5 Pro pickup system.&nbsp;<\/p>\n\n\n\n<p>\u201cMy only other gear,\u201d Emmanuel adds, \u201cis an <a href=\"https:\/\/amzn.to\/49WX2ok\">AER Pocket Tools Dual Mix<\/a> preamp and an Udo Roesner Da Capo 75 combo amp. And a tuner!\u201d <\/p>\n\n\n\n<div>\n<a href=\"https:\/\/store.acousticguitar.com\/products\/no-344-january-february-2024\" name=\"magazine\"><img decoding=\"async\" style=\"width: 150px; height: 198px; margin: 0px 20px 10px 0px;\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/11\/001_344_Cover-150px.jpg?w=1290&#038;ssl=1\" alt=\"Acoustic Guitar magazine cover for issue 344\" data-recalc-dims=\"1\"><\/a>\n<p style=\"font-family: sans-serif; margin: 0px 0px 15px 0px;\">This article originally appeared in the <a href=\"https:\/\/store.acousticguitar.com\/products\/no-344-january-february-2024\">January\/February 2024<\/a> issue of <em>Acoustic Guitar<\/em> magazine.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The Australian guitarist tells the story behind his latest self-produced album featuring David Grisman, Billy Strings, Molly Tuttle, and others acoustic greats.<\/p>\n","protected":false},"author":5,"featured_media":142845,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"The Australian guitarist tells the story behind his latest self-produced album featuring David Grisman, Billy Strings, Molly Tuttle, and others acoustic greats.","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[1155],"tags":[1932],"ppma_author":[1936],"blocksy_meta":[],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2023\/11\/TE_Accomplice2_Photo_3_Credit_Simone_Cecchetti.jpg?fit=750%2C500&ssl=1","authors":[{"term_id":1936,"user_id":0,"is_guest":1,"slug":"adam-miller","display_name":"Adam Miller","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g","user_url":"","last_name":"","first_name":"","description":""}],"_links":{"self":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/142835"}],"collection":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/comments?post=142835"}],"version-history":[{"count":4,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/142835\/revisions"}],"predecessor-version":[{"id":143037,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/142835\/revisions\/143037"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media\/142845"}],"wp:attachment":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media?parent=142835"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/categories?post=142835"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/tags?post=142835"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/ppma_author?post=142835"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}