Best Regards

I'm not quite sure who Chuck Pink is in real life. The liner notes, however, leave little doubt that Kottke views him as the archetypal nemesis - author of the countless irritations that frustrate the living and bedevil the world. The god of all false notes, if you will. The good news is that, while he appears in the title, the evil influence of the ephemeral Mr. Pink is entirely absent from this album. Instead, it is a classic example of what I think is remarkable about Leo Kottke.

Kottke's style, which has many folk and blues roots has a certain muscularity that is often lacking in guitar solo work. It isn't that I prefer one way of playing to another, but it lends Kottke's work a level of strength that can be compelling. Even in his quieter pieces ('Dan's Tune,' for example) he attacks the strings with an assured and precise confidence. For the most part, though, Kottke's music is lively, humorous, and unaffected.

This album is notable for the ensemble nature of the songs chosen, and the somewhat eclectic nature of the instruments - strings, guitars, rhythm, and the delicate appearance of several electronic instruments. Kottke works well in this kind of playing, giving George Doering (electric guitar) and Benton Banks (violin) and equal part in the music playing.

Over all, the album has a kind of 'retrofunk' flavor - many of the treatments seem to come straight out of the 1920's. that, coupled with the brash humor that Kottke often displays in his subjects ('I Yell At Traffic' and 'Skinflint') give the resulting album a flavor that is both old and contemporary at the same time. A good album for those times when you need a bit of a lift.

Hypnotic and Incredible,

This CD has done the impossible. It made me realize that Kottke's best stuff was not done in the early days. This album is a MASTERPIECE of acoustic playing. It ranges from thumping percussive 12-string pieces like "Skinflint" to the intricate reprise of "Ojo" from the Tacoma album to the funky and bizarre "I Yell at Traffic."
If you have been a Kottke fan from the early days of the great "Mudlark" and "Greenhouse" albums, you're in for a wonderful surprise. "Chuck Pink" illustrates perfectly how a great artist explores new territority and yet retains his unmistakeable signature style. I can't stop playing this CD. It's rare that a week goes by when I don't play it 3 or 4 times in a row. I keep a copy in my car and play it over and over on road trips and never hear a complaint from my wife, but she thinks Leo is "cute." I love it and I think any guitar afficianado will too. Buy it, you won't be sorry. I've got 13 or 14 Kottke albums and this one is currently at the top of my list. BTW, I've been a regular at Leo's concerts for many years and have never been disappointed. Big John and Little Sparky rule! Leo knows what I'm talking about.

Klassic Kottke

Fans tend to give Kottke's Private Music years little attention, instead focusing on his his lone Takoma and subsequent Capitol releases. Those who do this, miss out on some wonderful guitar playing. Regards from Chuck Pink features some of Kottke's unique style of finger-picking. And while this is an all-instrumental affair, Kottke works with other musicians on many tracks, including George Doering on electric guitar ("The Late Zone" and "Busy Signal"), Brenton Banks on violin ("I Yell at Traffic") and even electronic woodwind provided by Marty Krystall on "Foster's Feet." Kottke also includes an understated solo reworking of "Ojo" from Six-and-12-String Guitar. Overall, fans of Kottke's guitar work will find much to enjoy here. RECOMMENDED