Leo Kottke - One Guitar, No Vocals

Leo Kottke was initially inspired by fellow southern blues and country masters such as Mississippi John Hurt, Chet Atkins, and Roy Clark. As a young artist, Leo Kottke recorded for John Fahey's legendary Takoma label--garnering sometimes unfair comparisons to that gentle giant of guitar hoo-doo. Subsequently, pickers from Ry Cooder to Jim O'Rourke have been influenced by the work of these elder brothers who laid the groundwork for the atmospheric, improvisational noodling that's sometimes called chamber-folk. Following along these lines, Kottke displays his heritage proudly on the simple yet remarkably nimble One Guitar, No Vocals. "Three Quarter North" is a bluesy, deliciously sloppy waltz interspersed with broken bits of phrasing like the easy, mumbled drawl of front-porch conversation, while the album's longest piece, "Accordian Bells," rises and falls, tinkles and plays like tiny tip-toe dancing. --Paige La Grone Amazon.com

Sensational!

After, finally, finding this gem, I am so captured by the elegance and complexity of Leo's style. I have seen many albums of his and his name pops up among certain Summer circles. This Cd is my start, and after one listen, has become one of my many favorite, admired, and surprising, CDs. A "Must have," you won't go wrong! The title is truthful...finally. June 28, 2008

Dull

Despite its pseudo profound title, there isn't much here. The real title should be 'One Guitar, No Music.' October 18, 2007

Best example of Kottke's mature playing style

If you see Kottke perform today, like his style, and want to pick up one of his discs, 'One Guitar, No Vocals' is a good start for your Kottke collection.

After being laid low with chronic tendonitis in the mid-80's, I didn't think Leo would ever approach the level of playing he had on his Takoma debut, `6 and 12 String Guitar' (see my review).

`One Guitar, No Vocals' was a real surprise. I rank this and `Standing in My Shoes' as the best of his recordings in the last ten or so years.

On `6&12 String', he blew you away with speed and power, a falling-down-the-hill-head-over-heels kind of sound. On `OGNV'. Leo reinvented his style of playing. It may be a slower, more mature style, but he replaces the speed and power with finesse and intricate fingerpicking.

Each piece evokes a mood, whether it be a romantic walk in the woods on a cool autumn day (Three/Quarter North), whimsicality (Snorkel), instrumental storytelling (Morning is a Long way Home), or several versions of one melody(Accordion Bells).

Veteran Kottke fans will appreciate Leo's `riff recycling', a thing he typically does in his music. In `Snorkel` a bit of `Mona Ray' (Dreams and All that Stuff )leaks in. Leo gives us a new acoustic version of `Morning is a Long Way Home' (`Ice Water'). I even think I might have heard a bit of `Monkey Lust' (`Mudlark') drifting through `Too Fast'.

August 20, 2006

Just One Guitar?

Obviously, there are no vocals on this album but the sounds that Kottke can make come out of a single guitar is truly amazing. I am not a guitar player and I don't know if he employs many technical tricks with effects and such, but he really seems to master the instrument.

I don't own any other Kottke albums but when I heard this one, I had to get it. The themes in the music are fully fleshed out in each song, giving each one a unique personality. It fits many moods and even without the vocals, it does seem like the songs are saying something, much like a classical or jazz piece. And it also works whether you want to listen to it all the way through or mix it in with other music on a shuffle.

I definitely keep an ear open for other Kottke music because of this album. February 1, 2006

True musical genius

Morning is the Long Way Home and Too Fast; dazzling, amazing in performance and structure, but the tune Bigger Situation; what can you say about this stunning composition. As deep and powerfully brilliant as anything the human race has to offer. Leo Kottke, a musical artistic immortal. July 28, 2005

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