| $17.01
back in stock as of
march 8th, 2013
first in stock on
april 23rd, 2008
threads:
guitar-themed
folk
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| | | bo’weavil (uk) #weavil 29 cd robbie basho “bonn ist supreme” compact disc - redwood ramble (3:19)
- fandango (2:49)
- (variations on) 'easter' (5:36)
- rocky mountain raga (9:00)
- cathedrals et fleur de lis (9:00)
- german chocolate cake (2:10)
- silky jane (3:24)
- the grail and the lotus (8:53)
- pavan india (8:15)
- variations on claire de lune (4:46)
- california raga (9:11)
| | ah, excellent ... i remember hearing whispers that this was coming out a while back (glenn jones & my man matt azevedo on the production/restoration assist ...) - a newly discovered tape of robbie basho performing in germany in 1980, not long after the release of “art of the acoustic steel string guitar 6 & 12” (materials from said album featuring heavily herein) ...basho’s playing soars throughout, as does his angelic tenor (which, over the past year, i’ve finally begun to “get”) ... students of the long-form modal/eastern-leaning folk-guitar spec ; consider this a no-brainer ... highly recommended !!! |
| | bo’weavil press release... |
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bonn ist supreme
robbie basho
basho is recognized as one of the essential, transporting acoustic guitarists of his time. his music is indispensable to a host of players, foremost among them, steffen basho-junghans, who has taken basho’s name, and his inspiring example, to places they’ve never been before. such fellow travelers as jack rose, matt valentine and james blackshaw clearly “get” basho, and have been quick to credit his influence. (glenn jones)
in the 1960s and ‘70s, john fahey and leo kottke seemed to soak up all the attention as the primary “wayshowers” of a new approach to the acoustic steel-string guitar. one was dark and paranoid, the other light and humorous; both were still firmly rooted in folk and blues traditions. but another, in some ways greater, challenge to the accepted way of playing and composing on the guitar was also looming up at the time: robbie basho’s. compared to fahey and kottke, though, you would have to describe robbie and his musical antecedents as simply “other.” there are obvious influences from india, japan and the near east, of course. but even those are not pure translations of other traditions: they too have been re-worked by a creative intelligence. clearly robbie has widened the musical horizons greatly. (richard osborn) |
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