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(4222) George Whitney
Sun, 27 July 2014 20:26:56 +0000

Hello Tommy,
Until last week, my two favorite guitar players that i have seen live were Jeff Beck and Pat Metheny. You are now entered into my personal hall of fame. You are very creative, and my wife and I enjoyed you immensely in Spokane last week! Also, Antsy McClain is a perfect complement to your shows. The two of you are fabulous together. We hope to see you again in the future!
Best always,
George & Mona Whitney
Hayden, Idaho

(4221) Ray Sova
Sun, 27 July 2014 03:23:11 +0000

Hi Tommy,

I wanted to thank you for your positive influence on my 16 year old son who developed a serious brain issue 5 years ago that led to brain surgery 2 years ago and changed the direction of his life. Before these issues, he was very active in contact sports that he is no longer allowed to play. During this period he began to play the guitar and over the last two years he has gravitated to your finger style of play which has become his new passion. In February, he asked if he could sign up for your guitar camp this summer in the Catskills. I agreed and he has been practicing for long hours ever since and is extremely excited about meeting you. He has been counting down the days! Your music has opened up a whole new world for him and I am very grateful that good people like you exist in the world.

Thank you,

(4220) Joerg Fischoetter
Sun, 27 July 2014 00:04:16 +0000

Dear Tommy,

a bad problem with my spine momentarily disables me to play guitar and continue my Australian Suite composition work (for 4 Guitars, incl. a 10-string). The second piece (3/2014 finished) called "Mithaka" is also written as a solo version, and I would love to hear you playing it in your tommytypical-freely-figured-out interpretation. (The way you play "Michelle" e.g. is phantastic, Tommy! Fixed in my heart forever...)
If you are interested in taking a view on the notes of Mithaka (sorry, no audible versions available, but it´s only one single printed page to practice...) I´d be very thankful for your response.

Sincerely, your brother in spirit & mind,

Joerg Fischoetter
Magstadter Str. 24
71272 Renningen
Fon: 07159 6916
Mobil: 0173 905 78 24




(4219) Brian Sundholm
Sat, 26 July 2014 01:47:10 +0000

Hi Tommy,

My Dad is going to see ya tonight. He was the Bass Player in "The Kingsmen" #1 hit "Louie Louie" and he also invented Sunn o)) amplifiers Back in the 60s.

Could you play a quicky dedication "LOUIE LOUIE" to NORM?

He has been quite a practicle joker his entire life.. and it would probably blow his mind if ya could! =o)

Brian N. Sundholm - Musician

(4218) Mark Murphy
Fri, 25 July 2014 16:46:42 +0000

Hey Tommy,
I have a 1967 Gibson ES-335 I got when my dad passed. George Gruhn apparased it as 100+%. This is not one of those guitar scams i have heard about. I would like to sell the guitar for just a fair market price to someone I know will appreciate it. I can send you pictures of it and a picture of the apparisal. I live in the Nashville area. If you are interested just send me an email.

Fri, 25 July 2014 15:49:44 +0000




(4216) somvang
Fri, 25 July 2014 11:01:05 +0000

Hello!Sir! my name's Mr somvang i'm 18 years old and lao people.
i'm a beginner fingerstyle guitarist and i very interested your playing or style cause you're my idol!D:
i wanna you introduce how i practice is good please sir!

(4215) Cynthia Swidler
Thu, 24 July 2014 14:16:35 +0000

To Tommy and Antsy,
Thank you so much for the splendid and touching concert last evening in Missoula. You touched our hearts and souls with your music and artistry; as well, it is obvious how much heart and soul you manifest in your work! Your music is powerful, and we especially appreciated your contextual work with the Lewis and Clark Expedition and Trails-POWERFUL!!!
Tommy, if I was to run into you, I was to say hello to you from our friend, Linda Baker, but didn't run into you, so will say it here. She told me that you were from another planet, which after last night I might believe; however, I feel blessed that you were here on earth last night in Missoula. Please, please, please come back and perform here again! Happy Trails~ Cynthia and Barry Swidler

(4214) John Amaral
Thu, 24 July 2014 08:00:12 +0000

21 July 2014

An open letter to my brother and sister attendees, lovers of guitar-playing, on the occasion of the first Tommy Emmanuel Guitar Camp USA,

We've come a long way in a very short time.

We've come a long way since the mid-1700s when harpsichord maker Jacob Kirchmann, who was distressed at the many ladies of London who were "disposing of their harpsichords at auctions for one-third of their price, or exchanging them for guitars," bought some cheap guitars and "made a present of several to girls in milliners' shops, and to ballad-singers in the streets, whom he had taught to accompany themselves with a few chords and triplets, which soon made the ladies ashamed of their frivolous and vulgar taste and return to the harpsichord."

We've come a long way since the first great touring composers Bach, Mozart, Beethoven and the first great touring instrumentalists Paganini, Liszt and Segovia. They could never have dreamed of Tommy's achievement of hundreds of concert venues a year and meteoric world-wide recognition on the internet.

We've come a long way in a very short time since 1869, when Antonio de Torres Jurado, sold one of his enlarged (modern-size) 'concert' guitars to Francisco de Asís Tárrega y Eixea, who could hold a parlor-sized audience spellbound.

We've come a long way since the 1920s, when Segovia, like his predecessors Fernando Sor ('the Beethoven of the guitar') and Tarrega, could hold an audience of any size spellbound with his Ramirez concert model. I was privileged to hear him do that twice. We've come a long way since Segovia held his, very formal, master classes.

We've come a long way since the days of Bing Crosby, when the only performer whose competition he feared was the father of jazz guitar, singer and self-accompanist, Nick Lucas (one guitar and one voice, a complete portable entertainer). Crosby had it written into his contracts that he would always have a great guitarist such as Eddy Lang or Les Paul with him. These were the same days when Horace Hatchett would hop a freight train and follow Lang from town to town, earning money as a dishwasher to pay for a lesson with Eddy Lang. Hatch told me that Lang "taught him everything he knew" in every lesson!

In fact, more than Les Paul's inventiveness, we have to thank Bing Crosby's grateful gift to him for his accompaniment on the biggest hit of 1946, "Kiss Me Once, and Kiss Me Twice, and Kiss Me Once Again" (there it was again: one guitar and one voice), for all the benefits and curses of modern multitracking. In the late 1940's Crosby presented Les with one of the first commercial tape recorders, after which Paul, experienced as he was in bouncing sound-over-sound from one lacquer disk-cutting lathe to another, pestered Ampex into making two and three track recorders with "sel-sync" or "sound-on-sound," known today as "overdubbing."

We've come a long way since the late 1940s, when Maybelle Carter hired a young innovative electric guitar player and occasional singer to accompany her and her daughters on radio shows and public appearances. When they finally got to the Opry and he played an up-tempo version of "Maggie," Minnie Pearl told Chet Atkins, "You're just what we need around here." Soon, he frightened, in anticipation of his moving to Nashville, its guitar players who tried to keep him from working because he would 'get all the recording gigs'.

We've come a long way since Oscar Peterson missed his plane in 1973, when a jazz guitarist who was not a singer, Joe Pass, stepped alone onstage at Boston's Symphony Hall and soon the disappointed audience of 2500 people was clamoring for more. More than recordings, on account of radio, young guitarists had been occasionally able to hear great players like George Van Eps, Les Paul, Charlie Christian and Django (in Europe), but until Joe Pass, there was no electric guitarist who could sustain a solo concert in a big venue.

For me, we've come a long way, since the memorable moment I first heard Irving Ashby's Stromberg in mid-March of 1950 as he played a simple melody in thirds to introduce Nat Cole's gorgeous voice and soon everybody in the Los Angeles basin, including my grandfather, was whistling and singing it. Shortly, I became aware of guitars everywhere and was dying to have one. I had to wait a long time but the guitar was everywhere in the infant media of TV: there were singing cowboys, folk singers, bands who played hawaiian, pop, rock and roll, western swing and on and on. In 1946, there began an exponential growth in the number of guitar players, fueled by Segovia, Elvis, Belafonte, the Kingston Trio, The Ventures, The Beatles, and on and on.

We've come a long way since Johnny Smith's first modern guitar seminar in Colorado Springs in 1969. Many notables were in attendance and the surprise! guest was Johnny's favorite guitarist whom he had flown in from Hollywood: Howard Roberts ( HR looked at me and said, "Don't I know you? What are you doing here?"After several years of lessons with Hatch (who taught Carol Kaye, Billy Strange and HR), I had met my hero when I was working daily on the other side of the glass from the greatest lineup of Hollywood guitarists you could imagine (check out the picture of CA in Hollywood with HR right in back of him (, or the Beach Boy's sessions on YouTube). HR said to me that he really loved the idea of seminar teaching because it was so efficient. I said "Why don't you do it also?" and so he did many of them and founded the Guitar Institute of Technology (Musician's Institute). I organized three of his seminars. Prior to that, the packed HR seminar I attended in the shadow of the Capitol Record building had Joe Pass as the guest artist ( HR was one of the best teachers I ever encountered, with an ability to inspire each and every student. Here he is at Berklee ( JS and HR shared one thing that TE also has: extraordinary humility.

I'm sure we can't begin to imagine the sacrifices Tommy has made and the efforts he makes daily to achieve his remarkable touring schedule and visibility. Just imagine his techniques for passing through all those check points in what is a potentially very dangerous world; to brave the perils of the road and shield all his efforts and troubles from his fans. This, I feel, is greatness and we are attracted to it.

When I got the initial email for this TE Gtr Camp, I registered within seconds; it might be a bit of a sacrifice but how could I not? How could I use the opportunity to improve and learn? Borrowing the words of Guy Kawasaki, Tommy's knowledge is "simple, hot and deep"– the more we learn from him, the more there is to learn.

I hope you have found these remarks entertaining and useful. I honestly feel that Tommy's work is some of the most important in the world today – beyond mere music. As the first universally influential guitarist in a long time, Tommy is helping to effect a quantum shift in the number of fingerpicking guitar players. This is important because fingerpicking is a means of focusing our efforts to increase attention and consciousness; it tends to deliver us from the grave consequences of our instant-gratification, first-person-shooter-video-game, American-Idolizing, gun-happy, dumbed-down, sports-and-fashion-crazy world.

I'm really impressed with Tommy as a person; he promotes the simultaneity of solid 'show up and do your best' work-ethics, second-brain emotional/social experience and third-brain creativity; values for which many of us are very hungry today.

At one time and for many years, Louis Armstrong was the United States' unofficial but very effective ambassador for peace and good will to the world. Aware of this, Tommy closes with "Wonderful World." As we know, Louis' music was foundational to our culture and a strong social unifier for the Western world; a movement which eventually brought down the Berlin Wall and inspired self-government. Tommy has adopted the music of the United States' 'salt of the earth' people and makes a home with us. He has become our de-facto best, most accessible ambassador for higher peacemaking qualities in American musical culture and therefore the high qualities of a hopeful world culture.

Am I making too much out of this? I don't think so; I firmly believe that more good musicians = fewer soldiers. I hope that Tommy will share my observations and that they will be motivational for your guaranteed one-in-a-lifetime experience at Tommy Emmanuel Guitar Camp.


John Amaral

(4213) Patty Rossi
Thu, 24 July 2014 02:52:44 +0000

Hi!!! I purchased tickets for your performance at the Ohio Theatre at Playhouse Square in Cleveland Ohio on Friday September 12th!! I had hoped to purchase a "Meet & Greet" ticket but the Ohio Theatre said none were for sale so I bought the "best available" seats then found a similar page on your website. This will be a surprise for my boyfriend who, like you, has played the guitar his entire life since childhood. Joe has no idea I am taking him to this concert and will be thrilled when he finds out. With that in mind it would be an honor if I could set up a once-in-a lifetime opportunity for Joe to meet you at the Cleveland show. If this works out I would be very thakful! If not I know we will at least enjoy your performance. It has been a challenge dating an accomplished musician but I must say it's been a joy being introduced to great music and talent like you! :)