Daniele Gottardo -Photo by Simone Furia
Initially inspired by Ace Frehley and the music of Kiss, Italian guitar and composer Daniele Gottardo has gone on to have a career defined by hyper-eclecticism and grandiose virtuosity. Of course, none of this news—especially given that Gottardo was tabbed by Steve Vai as “one of the brightest talents in electric guitar” some years back. But to be fair, Gottardo has held up his end of the bargain, unleashing eclectic yet iconic solos records, Frenzy of Ecstasy (2010), Non Temperato (2014), INkBlot (2022). In fact, those records were so good that Guitarist Magazine tabbed Gottardo as one of the “10 contemporary guitar virtuosos you need to hear.” Not too bad, eh?
Beyond his solo career and the red-carpet praise deservedly showed upon him, Daniele Gottardo has appeared at multiple international guitar festivals, such as the United States’s Malibu Guitar Festival in 2017, France’s Guitar En Scene in 2016, Romania’s Ziua Chitatelor in 2016, Jason Becker’s Not Dead Yet Festival, which took place in Holland in 2013, and Italy’s Eddie Lang Jazz Festival in 2010, 2013, and 2015.
Other highlights include working with The Nuts for 2016’s Giant Nuts, appearing on Jason Becker’s 2019 comeback record, Triumphant Hearts, and ripping it up on Gretchen Menn’s 2016 record Abandon All Hope. And so, there’s no telling where Daniele Gottardo might turn up next, but to be sure, it’ll be worth hearing.
During a break from the action, Daniele Gottardo beamed in with ClassicRockHistory.com to dig into his origins, process, gear, and more.
What inspired you to pick up the guitar?
I found my dad’s guitar and randomly decided to pick it up one day when I was about 13. I strummed open strings with a lot of distortion. There began my journey.
Who were your most significant influences? How do they remain within your sound, and how have you diverged?
Ace Frehley and all incarnations of Kiss were my first big inspirations during my early years of playing. Then, I discovered Steve Vai, Yngwie Malmsteen, Jason Becker, John Petrucci, and Dream Theater, who sparked my interest in extended techniques and instrumental composition. Greg Howe introduced me to the rock-fusion sound, and I took his playing as a model while developing mine.
Though I have stretched out into genres other than my initial rock-based inspirations, I retain the use of high-gain in my playing, regardless of genre. My approach to improvisation is more jazz than rock, and my harmonic vocabulary is based mainly on Romantic and 20th-century composition. My approach to note choice and articulation on the guitar has become increasingly influenced by classical woodwind and string players.
Do you remember your first guitar and amp?
Yes, it was my dad’s Fender Stratocaster and Marshall Jubilee combo. I spent a lot of time practicing without much gain or effects, which helped me develop a clean technique.
What was your first professional gig?
I toured with the Eurodance singer Alexia in the early 2000s for about four years. I was very young and inexperienced, and I can’t believe they tolerated me for as long as they did. I learned that no matter how easy a part seems, it takes work to play it well. To this day, I can find challenges even in the most seemingly simple parts. I also learned a lot about professionalism and how things work on a larger tour.
How do you view the way you play today vs the past? What has changed most?
When I hear myself from ten years ago, I notice that my taste in vibrato has changed a lot. In my earlier years, I was more influenced by metal and rock. I have moved toward greater restraint and variety of vibrato instead of the “more is more” approach. Now, my inspirations for touch and articulation might come from performances of a Poulenc Flute Sonata or a solo of jazz cornet legend Bix Beiderbecke.
I have also developed my compositional voice quite a bit. I am an avid student of harmony, counterpoint, and orchestration, which has affected how I approach the guitar. I am more conscious of dynamics, textures, and blending the electric guitar with a larger ensemble instead of playing over it. My most recent album, INkBlot, explores this quite a bit.
Tell me about your riff and solo writing process.
Perhaps unusual for a guitarist who started with rock, but I don’t write riffs. I moved away from riff-based playing years ago to explore less common approaches. I have based my sound and style on using the guitar as a melodic instrument, focusing on counterpoint and interplay with other instruments. I find the concept of the often-assumed dichotomy between rhythm and lead guitar restrictive both to guitar playing and imagination.
For solos, it depends on the context. I really love improvisation and have spent a lot of time studying the great jazz improvisers and developing my abilities in this area. But I also enjoy composing solos. In either case, I try to create rhythmically interesting solos with elements of lyricism and harmonic sophistication. A risk in composing solos is they can sound rigid, so I make it a point to convey a sense of organic unfolding.
How do you view guitar solos in the modern era?
It depends on the player and the context. It is great that people are still playing and enjoying solos in 2023, especially given that the mainstream is dominated by electronic music, many producers of which don’t play an instrument. To be sure, I do like and admire aspects of a lot of mainstream, non-guitar music, but I don’t take the viability of guitar solos for granted. I am glad there is still a place for them.
Bands and guitar players are doing some amazing things technically right now. Still, a trend I am noticing in newer generation rock and metal players is less of a foundation with improvisation, which is a shame. Electric guitar playing is historically rooted in blues and improvisation, and the skill of being able to create spontaneously is part of being a well-rounded musician. It’s also a lot of fun and a great challenge.
Is a little self-indulgence okay, then?
In terms of self-indulgence, it can be okay if done with good taste rather than disregarding all others. There should be a musical reason for extended solos or full-blown shreds. Of course, what is good taste is subjective. But no genre excludes great solo possibilities or protects you from being annoying if you’re self-centered in your approach. I have heard beautiful, expressive shred solos and boring, cliché-ridden blues solos. It’s all about the musical ideas and the journey they take you.
Tell me about your guitars, amps, and pedals. What goes into those choices?
I am a gear minimalist. I have one main guitar—my Charvel custom with Seymour Duncan pickups. My amps are Two-Rock and Laney, and I have a handful of pedals, with favorites being Black Country Customs Secret Path Reverb and Difference Engine Delay. My wife, Gretchen Menn, has more gear than you could imagine, so I can access whatever I need. There are guitars, amps, and pedals absolutely everywhere around our place. I often ask her, “What new gear showed up today?”
What are your short and long-term goals? How will you achieve them?
Most of my time lately has been devoted to working on a three-movement guitar concerto, which will premiere with the Utah Symphony in April of 2024, conducted by David Robertson. Though I have composed quite a bit for guitar and chamber orchestra, this is my first piece that includes a full orchestra. It is a great honor and opportunity to put my studies into practice and expand this part of my musical journey. I’ve been a longtime fan of Thomas Goss’s online orchestration materials and have been working with him on details of the orchestration to ensure everything is polished when I’m with the live orchestra.
I am also working on some new material with a jazz-rock trio scheduled for release early next year. In January of 2024, I will teach at the Steve Vai Academy in Orlando, FL, alongside some fantastic musicians, some of whom I consider friends. Dreamcatcher puts on unique educational events, which are also great hangs and lots of fun, and I’m thrilled to be part of this one. As of this September, I am officially a graduate student at ThinkSpace Education, working on a master’s degree in professional media composition.
Daniele Gottardo: The ClassicRockHistory.com Interview article published on Classic RockHistory.com© 2023
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![Rob De Luca of Spread Eagle, Sebastian Bach & UFO: 10 Albums That Changed My Life From humble East Coast origins to grandest stages worldwide, veteran bassist Rob De Luca has seen and done it all. De Luca first hit the local Boston rock and metal scene in the late 80s after meeting guitarist Paul DiBartolo, bonding over Van Halen before forming Bang. Regional success came quickly, but eventually, the members of Bang went their separate ways, with De Luca and drummer Tommi Gallo heading to NYC and hooking up with Ray West and, later, DiBartolo to form Spread Eagle. By 1990, Spread Eagle was on the fast track, with a contract through MCA Records and a self-titled debut album poised to crush skulls. But poor timing and MCA's sad indifference left Spead Eagle out in the cold despite being a hard-boiled answer to Guns N' Roses's West Coast sleaze. Spread Eagle's first chapter came to an end in '95. As for Rob De Luca, his nimble fingers and gift for melody and songwriting kept him moving forward. Soon, he found a gig with former Skid Row frontman Sebastian Bach and the legendary outfit UFO. And in 2010, after coupling up with Ray West and his cousin Rik De Luca, Spread Eagle retook flight. During a break from Spread Eagle's increasingly busy touring schedule, Rob De Luca dialed in with ClassicRockHistory.com to run through the ten albums that changed his life. But only after adding, "I made a playlist of these songs, including some I've written or co-written. Do you hear any of these albums' influence on me?" Listen here: https://open.spotify.com/playlist/3LWJuhDrE8JmzhsmTeIDUq 10) Gentlemen by Afghan Whigs (1993) Here's an entry that was so important to me. This may be the darkest break-up album of all time. Greg Dulli has been in many projects, but I feel Gentlemen is his zenith. Somewhat undefinable at times but always profound and honest. Listen to "Gentlemen," "Fountain and Fairfax," and "What Jail Is Like." 9) In on the Kill Taker by Fugazi (1993) By this time, I had been sucked in and spit out by the major-label record industry. Glam came and went; grunge was history, too. I was searching for new sounds. When I heard Fugazi's twin guitar approach, I knew this was what was missing. Fugazi may be considered a less polished sound than the albums above; however, once you "get it," it hits you like a ton of bricks, and there's no going back. From the moment I heard Fugazi, I went to every NYC show after. It's easily some of the best concerts of my life, and possibly my favorite bassist in Joe Lally. And their DIY ethics refused to charge us more than $5 a show! In on the Kill Taker is a powerful album demonstrated in songs such as "Smallpox Champion," "Great Cop," and "Public Witness Program." 8) Appetite for Destruction by Guns N' Roses (1987) I discovered many of these albums (sometimes long) after they were released. However, I was at the right place at the right time for this one. Steve Ostromogilsky had a Berklee College of Music lunch card and used to sneak out sandwiches for me. One day, he invited me to hang out at his place and listen to music. As we got off the train, he put Sony Walkman headphones on my ears and said, "Hey, check out this brand-new group." A song like "It's So Easy" was so different from the popular Sunset Strip sound at that time. Me and about 499 other informed rockers were lucky enough to see them on their first East Coast tour at the sold-out Paradise on Commonwealth Avenue, Boston (the same street Aerosmith started on). I saw Gn'R every tour after until I took a break when Buckethead joined. Gn'R is the band I've been lucky enough to see the most times live, almost 100! Everyone on this album is just stellar. Axl [Rose] had the tones, power, melodic sensibilities, and foresight to do what no other singer did then. Slash's playing was beyond memorable. Duff [McKagan] is one of the most underrated bassists in rock history, and learning his Appetite basslines is a masterclass. Steven [Adler] had the natural swing, and Izzy [Stradlin] was the secret weapon songwriter. Everything that's been heralded about this gem is deserved and true. Check out "It's So Easy," "Out Ta Get Me," and "Mr. Brownstone.' 7) Wish You Were Here by Pink Floyd (1975) Another contender for my favorite album and band of all time. Using The Beatles machine (same recording studio, engineer, record label), Pink Floyd made what I feel is their strongest, most cohesive album (my second favorite of theirs would be Animals). This list mainly consists of bands with an instantly recognizable sound. Floyd is certainly no exception to that! This album included a solid handful of undeniable rock radio classics, bookended by two halves of the mind-blowing song "Shine on You Crazy Diamond.' That song was written about former band member and founder Syd Barrett. It would be hard to live in a world without this album. Check out "Welcome to The Machine," "Shine on You Crazy Diamond (parts 6-9),' or even better yet, listen to the whole thing in one sitting! 6) Decade by Neil Young (1977) About this time, I started playing guitar. As a beginner, it was comfortable jamming to this album because the chord changes were simple—a great "first ten years" retrospective of Neil's stunning, unique songwriting. Neil is a treasure who always writes from the heart and stands up for what's right. Check out "Southern Man," "A Man Needs a Maid," "Down by The River," and "After the Goldrush." 5) Highway to Hell by AC/DC (1979) When I heard this album, I was firmly "me." My life would be 100% focused on hard rock music forever. AC/DC are like air; they're ubiquitous. Everyone knows them and their incredible songs. However, as a young teen in Wilmington, Delaware, I only had WMMR 93.3 FM Philadelphia and a few friends to inform me about the world of Rock outside my bedroom. AC/DC had not gone mainstream, and their albums were available primarily in the USA as imports. To put things more in perspective, I only knew two people in the world who had heard of AC/DC. A friend had an import that we played in Steve Buckley's basement, which sounded ripping. When Highway to Hell was released, WMMR started spinning the title track, and I immediately bought the album, listening to it every single day after school. Then WMMR announced AC/DC was coming to the Spectrum in Philly, supporting Ted Nugent! I liked Ted but loved AC/DC, so my good friend Mick Cummins and I bought tickets, and he drove us up to the Spectrum (where we saw most of our concerts). Bon Scott was in fine form, and the band went over great. Although the crowd knew Ted better, Angus [Young] wouldn't let anyone upstage him. I'll never forget it! Unfortunately, Bon would be gone in 6 months. Check out "Walk All Over You," "Touch Too Much," "Shot Down in Flames," and "If You Want Blood (You Got It)." 4) Toys in the Attic by Aerosmith (1975) By the time I heard this, I was now in my teens. I had a childhood friend up the street, Jim Linberg (we're still good buddies). His older sister had a great album collection, including Toys in The Attic. Once I heard that groove, my taste changed. I lost interest in rock music that didn't have some sort of "swing" feel to it. I think Rocks is a slightly better Aerosmith album (and possibly my favorite album of all time), but both are perfect or very close. Check out "Uncle Salty," "Adam's Apple," "No More No More," "Round and Round," and "You See Me Crying." 3) Alive! by Kiss (1975) When I was still a little kid, I asked for Cheech and Chong's Up in Smoke album for Christmas. The entire family came over for an enormous feast, and I dropped the needle. When my mother heard the content, she turned off the album and said I had to exchange it. My mom was cool, but I was young and knew much more about life than she suspected. Anyway, the next day, she drove me back to the store. In the music section, promoted on an "endcap" was a Kiss Alive! display. I had never heard of Kiss, but that cover picture told me I had to have it! My first foray into hard rock. Check out “Strutter.” I went through my Kiss phase very quickly, I believe in a matter of months because I discovered the previous entry, Aerosmith's Toys in the Attic. 2) Honky Chateau by Elton John (1972) When I was a wee lad, my parents bought a used Volkswagen camper van from my uncle Ozzie. My favorite Elton John album is Yellow Brick Road, but Honky Chateau is great and easily one of his best. It sent me down a lifelong rabbit hole of loving everything about the 1970s partnership between Elton and lyricist Bernie Taupin. The simple beauty of voice, the master songwriting, the perfect backing band, the clear, unobtrusive recordings, and always Bernie's incredible lyrics. The day this album was released, Elton became an unstoppable force that conquered the music industry. Check out "Mona Lisas and Mad Hatters" and "Rocket Man." 1) Sergeant Pepper's Lonely Hearts Club Band by The Beatles (1967) Another tape that was included in the VW Camper. The van had a bunch of music tapes, and one was Sgt Pepper. I was too young to understand the sophistication of the music, but that was one of the many skills of The Beatles. They attracted listeners at every level, even little kids. I still feel that immediate connection to Sgt Pepper; now, I hear so much more. It's an album that changed the world and the world of music. Check out "Lucy in The Sky with Diamonds," "A Day In The Life," and "Fixing a Hole."](http://www.classicrockhistory.com/wp-content/uploads/2023/11/Shutterstock_1815495569-1-300x200.jpg)
