I'd like to invite everyone to my website.
http://WWW.mcgillguitars.comAlthough I have made resonators it is not the only thing I have ever done.
For the last 15 years I have been known for building the state of the art Nylon String Electric guitar used by so many major guitarists and side musicians -- the Super ACE. I also make the Super Steel version as well.
Had I been doing this earlier I have little doubt I would have had Chet's support for it but it was to late when I began building them.
I also have little doubt, given Chet's attraction to instrumental jazz radio airplay, he would have pursued working with the Artists I am most associated with through my Super ACE guitar.
But in viewing my site I'd like people to recognize that my nylon string stage guitars are also everyday guitars that even classically trained players have embraced as their main acoustic guitar, but then on a stage with drums, keyboards and sax, it will carry a headlining guitarist.
http://www.mcgillguitars.com/#!feedback/c1ka5Because of the politics at CAAS and because it is so much effort to display at any event, I do not think the CAAS members ever had the opportunity to fully understand my guitars and career. So, as a footnote I'm known for building resonator guitars.
I'm not sure many here know that every time Klugh has played CAAS it was on a McGill classical guitar, one of many he bought in the early 90's. In fact it was Earl who asked me to get into DV resonator guitars.
http://www.mcgillguitars.com/#!pricing/c2scI considered myself a friend of Chet Atkins, I loved the guy and I'm so honored that he would have come to my shop that day and ran off with a guitar to do a photo shoot in an attempt to help me. It was a great surprise when another guitar maker put a photo of Chet holding my guitar, shown in this thread, on a poster and hung it over his display at CAAS the next summer. I can't imagine ever doing such a thing myself. Some are a little more concerned about their CHET identity than I am.
A few days ago I delivered a guitar to John Standerfer, an old friend I have so much respect for. He had seen two of my Super Steel guitars and wanted the sound to compliment his duet work with Brooks Robinson.
John will be playing a Super Steel when he arrives in July.
http://www.mcgillguitars.com/#!super-ace/c1ain I am putting together a performance for Brooks and John at the Nashville Unitarian Church on Woodmont Blvd on the 11th of July and hope we can draw a nice crowd for them locally.
I would have worked to bring many players to CAAS over the years that could have broadened the event in a way I believe Chet favored when he brought in so many non thumb style players like Martin Taylor, Earl Klugh, Valerie Du Chateau. But the focus has been narrowed, and the repetitive repertoire of old material reproduced in 20 minute sets all day has discouraged many I know from returning. Chet was not about looking backwards, he was always looking for a new direction which his career demonstrates by association with so many great musicians.
I often wonder what he would think of how CAAS evolved given his inviting a broader range of guitarist to participate when he was involved. I believe this was the nature of the person I knew, he loved players many of his fans do not recognize. George Barnes was a great guitarist in NY, he once told me he was so clean that if he had heard him in the beginning he would have given up. I remember the day an old friend with a charismatic stage persona was with me at his office, Chet lit up just shaking my friend's hand , he had a radar for performers. He wanted to hang and put on a recording of Andrea Previn playing piano variations on Twinkle Twinkle Little Star in the styles of all the great classical composers.
I feel like my lessons from Chet have helped me strive to be forward in my direction as an artist, and not stuck in the past with no new inspiration.
Thank you,
Paul McGill