Leo Kottke | |
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Background information | |
Born | Athens, Georgia, U.S. | September 11, 1945
Genres | American rock, Americana, acoustic rock, American primitive guitar [ citation needed ] |
Occupation | Musician |
Instrument(s) | Vocals, guitar |
Years active | 1966–present |
Labels | Capitol, Chrysalis, Private Music, Oblivion Records |
Website | Official website |
Leo Kottke (born September 11, 1945) is an American acoustic guitarist. [1] [2] He is known for a fingerpicking style that draws on blues, jazz, and folk music, and for syncopated, polyphonic melodies. He has overcome a series of personal obstacles, including partial loss of hearing and a nearly career-ending bout with tendon damage in his right hand, to emerge as a widely recognized master of his instrument. He resides in the Minneapolis area with his family. [3]
Focusing primarily on instrumental composition and playing, Kottke also sings sporadically, in an unconventional yet expressive baritone described by himself as sounding like "geese farts on a muggy day". [4] In concert, Kottke intersperses humorous and often bizarre monologues with vocal and instrumental selections from throughout his career, played solo on six and twelve string guitars.
Born in Athens, Georgia, Kottke moved with his parents so frequently that he was raised in twelve different states. [5] As a youth living in Muskogee, Oklahoma, he was influenced by folk and delta blues music, notably that of Mississippi John Hurt. [5] Kottke learned to play trombone and violin before trying the guitar and developing his own unconventional picking style.
A mishap with a firecracker permanently damaged the hearing in his left ear, [5] a condition that would be exacerbated by exposure to loud noise during firing practice while he served in the United States Navy Reserve, when the hearing in his other ear was also damaged. [6]
Kottke attended the University of Missouri for two semesters, where he was a member of the Delta Upsilon fraternity. He left Mizzou after his second semester. After being discharged from the Naval Reserve because of his partial loss of hearing, Kottke attended St. Cloud State College (now St. Cloud State University), in Minnesota, but left before completing his studies, choosing instead to hitchhike around the country, busking for a living, before finally settling in the Twin Cities. He arrived at the Scholar Coffeehouse in the Cedar-Riverside area of Minneapolis in the autumn of 1966 and soon was a regular performer. [5] There, he recorded his debut album, 12-String Blues , which was released on the independent Oblivion record label in 1969. He recorded 6- and 12-String Guitar (also known as the "Armadillo album", after the animal pictured on its cover) for John Fahey's Takoma Records later the same year. It remains one of the works most closely associated with Kottke and has been re-released many times on various record labels. Fahey's agent Denny Bruce signed Kottke to Capitol Records, and in 1971 Capitol released Kottke's first major label record, Mudlark . [5]
In the early 1970s, he recorded with vocals and backing musicians on albums. In 1972, he released Greenhouse and, in 1973, the live My Feet Are Smiling and Ice Water . Kottke closed out his contract with Capitol with his seventh album, Chewing Pine , in 1975. By then, he had gained an international following largely due to his performances at folk festivals. With his 1976 eponymous release, he moved to Chrysalis Records. [7]
In the early 1980s, Kottke began to suffer from painful tendinitis and related nerve damage caused by his vigorous and aggressive picking style (particularly on the 12-string guitar). [6] [8] As a result, he changed his picking style to a classical style, using the flesh of his fingertips and increasingly small amounts of fingernail rather than fingerpicks, and changing the positioning of the right hand to place less stress on the tendons. A flat pick is often used in conjunction with his fingers, a style called hybrid-picking. He has studied more classical and jazz-oriented compositional and playing techniques.
He took a long break from recording and performing and simultaneously moved from his relationship with major labels to the smaller Private Music label. Private Music was considered a new-age music label in the Windham Hill style, and Kottke often found his music categorized as such during this period. After the reflective A Shout Toward Noon , in 1986, he took a brief break from recording before returning with Regards from Chuck Pink in 1988. [ citation needed ]
Kottke released an album annually from 1989 to 1991: My Father's Face , followed by That's What and then Great Big Boy , which featured guest appearances by Lyle Lovett and Margo Timmins. Two years later, he returned with Peculiaroso , produced by Rickie Lee Jones. The solo album One Guitar, No Vocals was released in 1999. In 2004, Kottke released another solo album, Try and Stop Me (2004).
In 2002, Kottke and Mike Gordon (the bassist from the band Phish, which was on an extended hiatus) collaborated on Clone , an album featuring instrumental work and vocals from both musicians. A second album from the pair, Sixty Six Steps , followed in 2005. The duo toured in support of both albums. [9] In August 2020, Kottke and Gordon announced a new collaborative album, Noon, released that month on Megaplum/ATO Records. It was their first collaboration since Sixty Six Steps and Kottke's first studio album since 2005. [10]
Kottke received an honorary Doctorate in Music Performance from the University of Wisconsin–Milwaukee on May 18, 2008, where he gave the commencement address. [11]
Kottke's guitars are often tuned unconventionally; early in his career he heavily used open tuning, while in recent years he has used more traditional settings but often tunes his guitars as many as two full steps below standard tuning. [7] [12] [13]
In 1976, Kottke collaborated with arranger Jack Nitzsche on the release Leo Kottke, which featured Kottke backed by a small orchestral section on a number of tracks. In the later part of his career, he has begun reworking and re-recording tunes he wrote and recorded in the early 1970s. [6] For example, 1999's One Guitar No Vocals offered a new instrumental version of 1974's "Morning Is the Long Way Home", with the countermelody opened up from behind the vocal line, stripped of its original trippy lyrics. [14]
Kottke combined previously recorded tunes into new compositions, notably the mini-suite "Bigger Situation", also released on One Guitar No Vocals. In 1990, he and composer Stephen Paulus created Ice Fields, a work for amplified acoustic guitar and orchestra in a concerto format. Ice Fields featured five movements, each based on an existing Kottke composition, with orchestral backing and interlude sections. [15] It was premiered by Paulus's Atlanta Symphony Orchestra and has been performed occasionally since but has not been released on record, partly because of the high cost of producing a recording with a full orchestra. [13]
Merle Robert Travis was an American country and western singer, songwriter, and guitarist born in Rosewood, Kentucky, United States. His songs' lyrics were often about the lives and the economic exploitation of American coal miners. Among his many well-known songs and recordings are "Sixteen Tons", "Re-Enlistment Blues", "I am a Pilgrim" and "Dark as a Dungeon". However, it is his unique guitar style, still called Travis picking by guitarists, as well as his interpretations of the rich musical traditions of his native Muhlenberg County, Kentucky, for which he is best known today. Travis picking is a syncopated style of guitar fingerpicking rooted in ragtime music in which alternating chords and bass notes are plucked by the thumb while melodies are plucked by the index finger. He was inducted into the Nashville Songwriters Hall of Fame in 1970 and elected to the Country Music Hall of Fame in 1977.
Fingerstyle guitar is the technique of playing the guitar or bass guitar by plucking the strings directly with the fingertips, fingernails, or picks attached to fingers, as opposed to flatpicking. The term "fingerstyle" is something of a misnomer, since it is present in several different genres and styles of music—but mostly, because it involves a completely different technique, not just a "style" of playing, especially for the guitarist's picking/plucking hand. The term is often used synonymously with fingerpicking except in classical guitar circles, although fingerpicking can also refer to a specific tradition of folk, blues and country guitar playing in the US. The terms "fingerstyle" and "fingerpicking" are also applied to similar string instruments such as the banjo.
"Little Martha" was the only Allman Brothers Band track written solely by group leader and partial namesake Duane Allman. The song first appeared as the final studio track on the Allman Brothers Band's fourth album, Eat a Peach, released in 1972. The track was recorded in October 1971, a few weeks before Duane Allman's death in a motorcycle accident.
Takoma Records was a small but influential record label founded by guitarist John Fahey in the late 1950s. It was named after Fahey's hometown, Takoma Park, Maryland, a suburb of Washington, D.C.
Flatpicking is the technique of striking the strings of a guitar with a pick held between the thumb and one or two fingers. It can be contrasted to fingerstyle guitar, which is playing with individual fingers, with or without wearing fingerpicks. While the use of a plectrum is common in many musical traditions, the exact term "flatpicking" is most commonly associated with Appalachian music of the American southeastern highlands, especially bluegrass music, where string bands often feature musicians playing a variety of styles, both fingerpicking and flatpicking. Musicians who use a flat pick in other genres such as rock and jazz are not commonly described as flatpickers or even plectrum guitarists. As the use of a pick in those traditions is commonplace, generally only guitarists who play without a pick are noted by the term "fingerpicking" or "fingerstyle".
American primitive guitar is a fingerstyle guitar music genre, developed by the American guitarist John Fahey in the late 1950s. While the term "American primitivism" has been used as a name for the genre, American primitive guitar is distinct from the primitivism art movement.
Preston Reed is an American fingerstyle guitarist. He is noted for a two-handed playing style and compositional approach that uses the guitar's body as a percussion instrument.
One Guitar No Vocals is an instrumental album by American guitarist Leo Kottke, released in 1999.
Try And Stop Me is a 2004 album by guitarist Leo Kottke. It contains some of Kottke's first forays into improvisation. All songs are unaccompanied guitar solos with the exception of "Banks of Marble" in which Kottke is supported by the band Los Lobos.
Leo Kottke is the first album on the Chrysalis label by American guitarist Leo Kottke, released in 1976. It reached #107 on the Billboard Pop Albums charts.
Greenhouse is American guitarist Leo Kottke's fifth album, his second on the Capitol label, released in 1972. It was recorded in three days. From the liner notes: "In the sense that my guitars were once plants, this record's a greenhouse.” There are seven instrumentals and four vocals. It reached No. 127 on the Billboard 200 chart.
12-String Blues, is the first album by American guitarist Leo Kottke, released in 1969.
Michael Gulezian is an American composer and fingerstyle guitarist. He is noted for dramatic compositions, a penchant for manipulating metre, an affinity for open tunings, and an unconventionally free two-handed technical approach. Gulezian's use of bottleneck slide on 12-string guitar, coupled with his command of reverse analog reverbs have made his recordings notable for their dream-like sonic atmosphere. Gulezian inhabits a musical territory between his mentor John Fahey and Gulezian's friend and colleague Michael Hedges.
Leo Kottke/Peter Lang/John Fahey is a split album by American guitarists Leo Kottke, Peter Lang, and John Fahey, released in 1974.
Instrumentals: The Best of the Chrysalis Years is a 2003 compilation of American guitarist Leo Kottke's releases on the Chrysalis label. It includes previously unreleased tracks. The Chrysalis release Essential covers the same time period, presenting a different line up of tracks.
Instrumentals: The Best of the Capitol Years is a 2003 compilation of American guitarist Leo Kottke's releases on the Capitol label. It was released at the same time as Instrumentals: The Best of the Chrysalis Years.
The Leo Kottke Anthology is a two-disc compilation of American guitarist Leo Kottke's releases on the Takoma, Capitol and Chrysalis labels, covering the first 15 years of his career. It includes liner notes by Kottke himself for each song and an essay by Mark Humphrey.
A Shout Toward Noon is an album by American guitarist Leo Kottke, released in 1986.
6- and 12-String Guitar is the second album by Leo Kottke, a solo instrumental steel-string acoustic guitar album originally released by John Fahey's Takoma Records in 1969. It is popularly known as the Armadillo album after the animal illustrated in the distinctive cover art. Although Kottke has had a prolific career as a recording artist, 6- and 12-String Guitar remains his best-known album.
Stefan Grossman is an American acoustic fingerstyle guitarist and singer. His discography consists of 22 studio albums, 2 live albums, 12 compilations, 22 videos, and 14 collaborations with other artists. In addition, his production, compositions and guitar work have been featured on a number of albums by other artists.