Debuting in 1958, the Gretsch 6119 Tennessean was the most understated of the four Chet Atkins models available from the brand at the time. Unlike its flashier counterparts, such as the 6120 cherished by Eddie Cochran, the 6122 Country Gentleman favored by Atkins himself, and the chambered 6121 Round-Up, the Tennessean featured a single Filter’Tron humbucker at the bridge. It was most famously played by George Harrison of The Beatles, though in a later version of the instrument.
While the Tennessean was nominally a 406mm (16-inch) wide single-cutaway hollowbody, its depth varied in its early years, finally settling at 64mm (2.5 inches). The most significant update came when Gretsch added a neck pickup, vastly increasing the versatility of the guitar. Additionally, the Tennessean’s color options of Deep Cherry Stain or Walnut further distinguished it from other Chet Atkins models, which typically featured the familiar Gretsch orange. Harrison’s version from 1963 was red and equipped with dual Filter’Tron pickups.
Fast forward six decades, and the Tennessean is back, looking nearly identical to its original Brooklyn-built counterpart. The new Japanese-made model features an arched laminated maple body, white binding all around, a two-piece maple neck with a dark center stripe, a white heel cap, a bound rosewood fingerboard, and twin Filter’Tron pickups. However, this modern version adds several updated features to bring a contemporary edge to this timeless guitar. For example, the B6CP Bigsby vibrato now routes the strings through a hole in the rocker bar, making stringing much easier compared to the earlier design, where the ball end had to be awkwardly placed onto a steel peg.
The updated top bracing is also notable. The Tennessean now features Gretsch’s Arc-Tone system, which utilizes torrefied maple tone bars and arc-shaped spruce support braces beneath the bridge area. This bracing system promises enhanced sustain, sharper note attack, and superior feedback control, enabling the Tennessean to handle powerful overdrive without the typical problems associated with all-hollow instruments.
Additional modern touches include Gotoh locking tuners for improved tuning stability, Grover strap locks, and an Adjusto-Matic bridge set atop a pinned rosewood foot. The U-shaped neck sports a 305mm (12-inch) radius and is fitted with 22 medium jumbo frets, with the edges rolled for added playing comfort. The fingerboard itself is smooth and responsive, making it a pleasure to play. The nickel hardware, grey pickguard, and pickup rings complement the Deep Cherry gloss finish, adding a sharp and professional aesthetic to the instrument, all backed by the high-quality craftsmanship Gretsch is known for.
Though Gretsch labels the neck as a “Standard U” shape, it feels more like a typical C profile with a depth of 20mm at the 1st fret and 23mm at the 10th, growing thicker as it approaches the heel. The neck is comfortable to play for long sessions, and the smooth fingerboard edges, combined with expertly finished frets, encourage extended playing without discomfort. The 625mm (24.6-inch) scale length and medium jumbo frets make it a versatile guitar for a range of techniques, from bends to vibrato, and its 11-gauge strings make fretboard maneuvers effortless.
Although it isn’t built for ultra-high-end solos like the Gibson ES-330, the Tennessean excels at blues-rock playing, particularly in the 12th-position soloing. Despite its deeper body and heavy hardware, it remains easy to handle, even when played on a strap.
Electrically, the modern Tennessean is simpler than its predecessors. It features a master volume mounted on the cutaway horn, individual pickup volume controls, a master tone, and a three-way pickup selector. The setup is intuitive, and through a Mark I Reissue Boogie combo amp paired with Hudson Broadcast, Lovepedal Hermida Zendrive, Providence chorus, and Echoplex delay pedals, it delivers a wide range of tones.
The bridge pickup, when set clean with a bit of slap-back echo, produces a bright, chiming tone that’s perfect for rock ’n’ roll leads, fingerpicked chords, and clean riffs. The neck Filter’Tron pickup, on its own or combined with the bridge, offers a warm, clear, and refined sound, making it easy to see why rockabilly players loved this guitar. When played by a virtuoso like Chet Atkins, the sonic possibilities of the Tennessean were virtually limitless.
Influential players like Neil Young, Stephen Stills, and Malcolm Young have also made their mark with Gretsch guitars, and stepping on the Zendrive pedal, with the Echoplex delay turned down, reveals unique tones that a Gibson might not quite capture. The bridge pickup delivers a strident, articulate tone with a hint of sweetness, while the neck pickup offers a warm, woody tone that sits between the lightness of a Les Paul and the heaviness of a Strat. With both pickups engaged, the sound becomes thinner, with a more vocal quality and a funkier edge.
Ray Butts’ Filter’Tron pickups, designed by the Gretsch engineer, offer a different sound compared to Seth Lover’s humbucker. Whether clearer, more focused, or sharper, the Filter’Tron pickups stand out in their own right.
The return of guitars like the Gibson ES-330 and this Gretsch Tennessean shows that classic models still have much to offer. Initially a simpler instrument compared to others in the Gretsch lineup, the Tennessean attracted players who loved the distinctive Gretsch sound but preferred a more straightforward, purposeful guitar that looked great, played well, and sounded fantastic.
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