The renowned trio of Kittel & Co. bring their classical and acoustic roots together with traditional Celtic and bluegrass styles plus a dash of jazz, performed with technical precision and panache.
Fronted by acclaimed violinist, fiddle player and composer Jeremy Kittel, the group has attained global status as masters of genre-blending arrangements and performances.
After releasing their latest album 'Whorls' in 2018, Kittel & Co. found themselves nominated for Best Instrumental Composition at this year's 61st Grammy Awards, although were pipped at the post by Terence Blanchard for 'Blut Und Boden (Blood And Soil)' from the film 'BlacKkKlansman'.
Stopping in Australia this Easter for National Folk Festival (Canberra) plus a run of national dates, we have a chat with Jeremy.
What has the response been like for your album 'Whorls' since releasing it last June?
It’s been a wonderful steady build (with a real spike in energy last December with the Grammy nom).
It’s an album that I think can take a listen or two to start really sinking deeper into, and it’s been great to hear from people who are really enjoying the music in that way, as a full album, a full experience. When I hear from people who are deeply moved by the music, I know that it’s fulfilling its purpose.
How does ‘Whorls' compare/ contrast musically to other work you produce outside Kittel & Co.?
In a way, all my work seems intrinsically, organically related to me, like it’s all of the same essence.
I think that happens naturally when you try to make music from the heart and try to follow your intuition, and I try to do that with everything I work on, whether it’s 'my' music or someone else’s project.
On that note, it’s a little different for me to be orchestrating music this ambitious from the ground up, laying the foundation and most of the arrangement details of the music. It’s also really unique in that it’s really meant for a certain kind of acoustic musician, and specifically these amazing musicians in the Kittel & Co. collective to play.
There are elements of Celtic and old-time music, jazz, western classical music, bluegrass, pop music etc., and we all have to have at least a foot in these styles to be able to play this music.
The song 'Chrysalis' from 'Whorls' was Grammy-nominated for Best Instrumental Composition; you must know you're doing well when you share a Grammy category with John 'Star Wars' Williams?
No kidding! JW is a big hero of mine.
Alan Silvestri too, who composed the music for 'Back To The Future' among so many others. All the other nominees are truly iconic composers; it’s truly an honour to have been nominated among them.
Favourite behind-the-scenes moment from the ceremony?
The most surreal moment was probably on the red carpet. All the nominees are invited to get their photo taken in the official photographer queue.
Singer-songwriter Brandi Carlile (who KILLED it in the live telecast) ended up going right in front of me; I followed just after; then about ten seconds after I entered, there was a cacophonous uproar of activity to my right; I turned and rapper Cardi B had entered just after me, which is why all the photographers were literally shouting. So I was flanked by Brandi and Cardi; of course, all eyes were on me.
Being in a room of music legends did you have any 'fanboy' experiences?
Haha. Actually, when I got to go to the Grammys the first time, about five years ago (a band I was in was nominated), I met my favourite engineer on the planet, Richard King, who does all those amazing Yo-Yo Ma and Edgar Meyer albums for Sony.
We kept in touch; he was kind enough to be a guide/ consultant for us when we were engineering 'Whorls', and then it all went full circle, since a track from 'Whorls' was nominated and I got to go to the Grammys again. So that was awesome.
Also, this year, my sister was kind enough to come with to the Grammys and she got to meet Weird Al, which pretty much made her year (Ok, mine too).
As a composer and performer, what initiated your interest in traditional Celtic and bluegrass music?
I totally fell for traditional Celtic music first, I think from hearing a couple shows early on and being blown away.
The Irish band Solas was like my personal rock band, my Led Zeppelin during middle school. Then I found other friends who were into it, and we all got hooked.
Bluegrass is such an amazing style too that I’ve been drawn to later, and initially more through 'new acoustic' music, if you will, which draws from bluegrass, classical, jazz etc.
Kittel & Co are in Australia soon for some festival shows, including National Folk festival; how are you and your bandmates feeling about the Australian shows?
We’re honestly excited. Two of the three of us have never been to Australia before, and we’re really looking forward to connecting with everyone there, making new friends and giving it our all musically.
National Folk Festival is Australia's premier folk music event with a 50-plus year history; what do you have in store for audiences when you take the stage at NFF?
The music we endeavour to make is immersive, emotive, cathartic, even orchestral.
And being multi-striped musicians, we do draw from all these different styles of music, and I think that can be fascinating for people to hear. But honestly that’s really not the focus; the focus is making deeply meaningful, authentic music that moves and inspires, for all of us here now to share and experience, in the moment.
With NFF happening over Easter, how much chocolate do you intend on eating? (local note: try the Cadbury Creme Eggs, you'll never leave).
Haha. I can already imagine the guys getting pretty excited over the eggs. I do really enjoy chocolate, though I’m more into the 90 per cent cocoa (or cacao nibs!). I’m glad to hear that the true meaning of Easter is being appreciated by all.
Back in 2003 you were the first recipient of the Daniel Pearl Memorial Violin; what significance has that had in your career?
I’m inspired by his human spirit that is evident in the imprint he left on this world through his writings and his friends.
He was curious and open-minded about people, a truth seeker, and he loved connecting through music (a lot of people don’t know that he was a fiddle player). A wonderful person.
I was honoured to be the recipient of the violin, and my tune 'Home In The World', named after a collection of his writings, is a tribute to who he was and what he stood for.
What are some of your musical goals in 2019?
I have many musical goals. There’s a short piece I got to write for some of the world’s greatest violinists a few years ago that I want to record this year.
I’ve also been writing a couple of ambitious pieces of music, one for orchestra and one for wind ensemble, that will be premiered in the next year. And I’m excited to keep helping the band’s shows become better and better, to keep coming into our potential.
I still have important personal goals as a player and a writer too, and so I do make time to sharpen my skill set. But I’d say my main focus has shifted to sharing with listeners and how I can serve.
Kittle & Co. 2019 Tour Dates
Thu 18 Apr - National Folk Festival (Canberra)Tue 23 Apr - Ferntree Gully Bowling Club (Melbourne)
Wed 24 Apr - Caravan Music Club (Melbourne)
Thu 25 Apr - Fireside Sessions (Melbourne)
Fri 26 Apr - Fairbridge Festival (WA)
