Leo+kottke

Leo Kottke - Standing In My Shoes (1997) {Private Music 01005821462}
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© 1997 Private Music / BMG | 01005 82146 2
Finger-Picked Guitar / Progressive Folk / Jazz Blues / Contemporary Folk / New Acoustic

Working with former Prince sideman David Z, Leo Kottke comes up with one of his most unusual records with Standing in My Shoes. David Z doesn't necessarily bring Kottke toward funk, but the spare rhythm section gives the guitarist a stronger sense of groove than ever before, and Kottke really shines in such a setting. His solos are loose and swinging, and even his trio of vocal numbers have a charming, carefree quality. Standing in My Shoes does bog down occasionally, particularly when the execution is more compelling than the material, but on the whole, it is one of his more fascinating records of the '90s.

Leo Kottke - Burnt Lips (1978) {Chrysalis–BGO Records BGOCD259 rel 1994}
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© 1978, 1994 Chrysalis Records / BGO Records | BGOCD259
Finger-Picked Guitar / Progressive Folk / Contemporary Folk / New Acoustic

The subjects of death and betrayal permeate this understandably dark album. Opening with the Nick Lowe chestnut "Endless Sleep" as a slow acoustic blues, this unpredictable guitar un-star also sings about "Sonora's Death Row" and offers the opinion that "Everybody Lies." His always problematic singing assumes a prominent role, which might not be the best strategy. He showcases his string wizardry on "A Dull Thud" and several other instrumentals.

Leo Kottke - Peculiaroso (1994) {Private Music–BMG 01005-82111-2}
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© 1994 Private Music / BMG | 01005-82111-2
Finger-Picked Guitar / Progressive Folk / Contemporary Folk / New Acoustic

In terms of musical mastery, few instruments deserve more attention and respect than the twelve-string guitar, and few masters of that instrument deserve that same attention and respect more than Leo Kottke. From his lyrics ("Room at the Top of the Stairs") to his playing ("Wonderland by Night"), this 1994 Private Music release, well produced by Rickie Lee Jones, is at turns humorous, haunting, and highly enjoyable.

Leo Kottke & Mike Gordon - Sixty Six Steps (2005) {RCA Victor 82876 68909-2}
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© 2005 RCA Victor | 82876 68909-2
Finger-Picked Guitar / Progressive Folk / Americana / Contemporary Folk / New Acoustic

The second collaboration of Leo Kottke with ex-Phish bassist Mike Gordon finds the duo exploring breezy Caribbean sounds, with a few surprise covers. The musicians work wonderfully together, with Gordon's meaty yet malleable bass grounding and darting around Kottke's distinctive and agile fingerpicked lines. Percussion reinforces the island sound (the album was recorded at the famous Compass Point Studios in Nassau) and provides a terrific backbone for the album's tropical approach. Neither Gordon nor Kottke have great (or even good) voices – the bassist's is particularly thin – but they admirably dig into the songs, singing on about half of the tracks with a charming, easygoing quality that suits the material and shows they are enjoying this ride.

Leo Kottke - Regards From Chuck Pink (1988) {Private Music 259 641}
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© 1988 Private Music | 259 641
Contemporary Folk / Finger-Picked Guitar / Progressive Folk / New Acoustic

This 13-song set of instrumentals purports to explore, in Kottke's words, "lifetimes or moments…that have not only endured but prevailed against the test of Pink." Chuck Pink, that is – a personified force of self-censorship and blame. Kottke's always been good at tagging his songs with quirky titles, and Chuck Pink is no exception, with tunes like "I Yell at Traffic," "Dog Quiver," and "Theme From Doodles."

Leo Kottke - My Father's Face (1989) {Private Music 2050-2-P}
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© 1989 Private Music | 2050-2-P
Finger-Picked Guitar / Progressive Folk / Contemporary Folk / New Acoustic

Guitar virtuoso Leo Kottke has never been a fan of his own singing, observing once that it resembles "geese farts on a foggy day." Be that as it may, his voice (both vocally and lyrically) is an essential element of his persona, one he's too-often neglected. This cogent 1989 collection balances the Minnesotan's trademark knuckle-busting 12-string exhibitions ("William Powell," "Theme from 'The Rick and Bob Show'") with memorable lyric-based songs.

Leo Kottke - That's What (1990) {Private Music 260 883}
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© 1990 Private Music | 260 883
Finger-Picked Guitar / Progressive Folk / Jazz / Jazz Blues / New Acoustic

Leo Kottke has always been a highly idiosyncratic guitar player whose music is infused with his wry sense of humor. That's What is no exception, with Kottke's guitar work drawing from jazzy, blues and folk sources. Four of the tunes feature electric guitar, with some lively electric and string bass by sideman Billy Peterson, who also contributes touches of percussion, synth, piano and, on one piece, Farfisa organ.

John Fahey, Peter Lang, Leo Kottke - John Fahey, Peter Lang, Leo Kottke (1974) {Takoma ‎TAKCD-6502-2 rel 1996}
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© 1974, 1996 Takoma ‎Records / Fantasy | TAKCD-6502-2
Finger-Picked Guitar / Progressive Folk / Jazz Blues / Contemporary Folk / New Acoustic

In the 1950s the young John Fahey discovered the funky, unpretentious, down-home, spontaneous guitar-oriented 78s recorded in the late 1920s and early 1930s by rural Southern black and poor white folks. He changed the music to suit his own image of what art should be and created the concept of the solo steel-string guitarist/composer. Leo Kottke built on Fahey's vision, made it more accessible, and proved how large the market could be. In 1974 these two quitar giants, joined by Peter Lang, who proves on these cuts to be a guitarist of equal ability, put out this excellent and influential LP.

Leo Kottke - Time Step (1983) {Chrysalis BGOCD255 rel 1995}
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© 1983, 1995 Chrysalis Records / BGO Records | BGOCD255
Finger-Picked Guitar / Progressive Folk / Jazz Blues / Contemporary Folk / New Acoustic

Having followed Leo Kottke since 1974 I can honestly say this album is a keeper. All the tunes are vintage Kottke but "Rings", written as sort of a joke by Alex Harvey and Ed Reeves, is fantastic. Time Step is Kottke's last recording on the Chrysalis label. It is the first of two Kottke albums produced by T-Bone Burnett, the second being My Father's Face. Guests include Albert Lee and Emmylou Harris. After the release of Time Step Kottke went into a three-year seclusion. When he returned later in 1986, it was as a guest musician on The Blind Leading the Naked by Violent Femmes, then his own releases with a new direction and picking style.

Leo Kottke - Mudlark (1971) {One Way Records S21-18460 rel 1995}
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© 1971, 1995 Capitol Records / One Way Records / GEMA SP | S21-18460
Contemporary Folk / Finger-Picked Guitar / Progressive Folk / Jazz Blues / New Acoustic

Mudlark rates highly on many a Kottke fan's favorite list. This was Kottke's Capitol Records debut, and his solo instrumental sound is augmented with the addition of studio sidemen (bass, drums, piano). His playing is superb (no surprise there) and full of youthful vigor – a fusion of high-speed picking, brash slide work, funky folk, acoustic rock, and melodicism. Most importantly, Mudlark marked the debut of Kottke as a singer, an indication that Capitol was trying to shoehorn him into the singer/songwriter genre. Kottke himself has made disparaging remarks about his own vocals, but they add personality to his virtuosic guitar chops.