Basho was born in Baltimore, Maryland, and was orphaned as an infant. Adopted by the Robinson family, Daniel Robinson, Jr. attended Catholic Schools in the Archdiocese of Baltimore and went on to study at University of Maryland College Park. Although he played the euphonium in the high school band and sang in middle school and high school ensembles, his interest in acoustic guitar grew during his college years, as a direct result of his friendships with fellow students John Fahey, Ed Denson, and Max Ochs. In 1959, Basho purchased his first guitar and immersed himself in Asian art and culture. It was around this time that he changed his name to Basho, in honor of the Japanese Poet, Matsuo Basho.
Basho's vision was to see the steel string as a concert instrument and to create a raga system for America. During a radio interview in 1974, promoting his album Zarthus, Basho discussed his music in detail. He described how he had gone through a number of "periods" related to philosophy and music, including Japanese, Hindu, Iranian and Native American. Zarthus represented the culmination of his "Persian period". Basho asserted his wish, along with John Fahey and Leo Kottke, to raise the steel-string guitar to the level of a concert instrument. He acknowledged that the nylon-string guitar was suitable for "love songs", but its steel counterpart could communicate "fire".
Robbie Basho
«Trying to describe the music of Robbie Basho with tabulature and tunings is only half of the truth. The main thing is the vision to find the essence of cultures and places: the hue of nature's colors to paint with guitar and voice. Robbie's early compositions were often rough-hewn, long-winding gems full of expression and romantic visions and rooted in the new folk scene of the late 50s/ early 60s (Washington, Berkeley...).(He talked about creating "Zen-Buddhist-Cowboysongs"....) Along with his studies of flamenco techniques, blues, classical music, bluegrass, Oriental, American Indian and Hindu textures (the entire universe is potential), and his experiments to find alternative tunings to express a wide range of emotions and colors, he became one of the pioneers, beside...
published: 17 Feb 2011
Robbie Basho - Indian II (1976) [FULL ALBUM]
http://itslostitsfound.blogspot.com/2013/10/robbie-basho-indian-ii.html
0:00 - A Day in the Life of Lemmeria
6:53 - Night Way
13:11 - The Butterfly of Wonder
16:05 - Laughing Thunder, Crawling Thunder
23:07 - Thunder Sun
29:15 - Kateri Takawaitha
33:46 - Thunder Love
38:56 - Song of Great Mystery
46:31 - Death Song
I do not own or claim to own any of the content in this video. RIP Mr. Basho.
published: 23 Aug 2022
Robbie Basho - Twilight Peaks FULL ALBUM
01 Twilight Peaks. - 00:00:00
02 Nice Enough for Love. - 00:03:29
03 Afternoon and Evening. - 00:09:00
04 Where Butterflies in Winter Go. - 00:12:44
05 Japan Idyll. - 00:16:58
06 Camelot II. - 00:22:32
07 Golden Dragon. - 00:28:22
08 Lament For the Earth. - 00:32:53
published: 29 Oct 2016
Robbie Basho "Cathedrals Et Fleur De Lis" (Live) 1971
First ever footage of Robbie Basho surfaced last week. This is from a TV show called "Scan" that was on KQED in 1971.
The folks responsible for finding and presenting this footage are;
David Greenberger, Glenn Jones, and "Tessaract3" from robbiebasho.com
published: 05 Aug 2012
Robbie Basho - Sweet Medicine
From the album 'The Voice of the Eagle' 1972
Is this just a song or an incantation to raise the mountain spirit-winds!? We'll never know!
published: 01 Sep 2016
Robbie Basho - Laughing Thunder, Crawling Thunder
From Indian II
Vanguard
US 1976/2008
published: 25 Aug 2019
Robbie Basho - The Falconer's Arm
Stunning opener to one of Basho's great albums! Don't miss!!
published: 11 Feb 2010
"Song of Great Mystery" by Robbie Basho
From an album of unreleased studio recordings titled "Indian II" unofficially re-released in 2007
Robbie Basho
«Trying to describe the music of Robbie Basho with tabulature and tunings is only half of the truth. The main thing is the vision to find the ...
Robbie Basho
«Trying to describe the music of Robbie Basho with tabulature and tunings is only half of the truth. The main thing is the vision to find the essence of cultures and places: the hue of nature's colors to paint with guitar and voice. Robbie's early compositions were often rough-hewn, long-winding gems full of expression and romantic visions and rooted in the new folk scene of the late 50s/ early 60s (Washington, Berkeley...).(He talked about creating "Zen-Buddhist-Cowboysongs"....) Along with his studies of flamenco techniques, blues, classical music, bluegrass, Oriental, American Indian and Hindu textures (the entire universe is potential), and his experiments to find alternative tunings to express a wide range of emotions and colors, he became one of the pioneers, besides John Fahey, of the contemporary steel-string guitar and the most important forerunner of the later New Age movement. However, Robbie's music expresses more than contemplative beauty -it is dramatic art. With his simple philosophy "soul first -technique later", Robbie developed his own musical universe to marry the spirit and rhythms of Eastern philosophies with Western folk and classical approaches. His style was a study of various different playing techniques with very complex right-hand picking patterns (using the fingernails) and a great left-hand freedom, often working very linear up the neck.In his later years he claimed to use about 30 seperate tunings and various picking-styles.But his overriding interest was not to play a technical contest or sound exotic, but to broaden the dimensions of what we know as our own.
SBJ »
[ Music, essay and picture are posted just for the benefit of the authors involved. If someone (artist, label, author) feels that this video or text should be removed, please do let me know]
Robbie Basho
«Trying to describe the music of Robbie Basho with tabulature and tunings is only half of the truth. The main thing is the vision to find the essence of cultures and places: the hue of nature's colors to paint with guitar and voice. Robbie's early compositions were often rough-hewn, long-winding gems full of expression and romantic visions and rooted in the new folk scene of the late 50s/ early 60s (Washington, Berkeley...).(He talked about creating "Zen-Buddhist-Cowboysongs"....) Along with his studies of flamenco techniques, blues, classical music, bluegrass, Oriental, American Indian and Hindu textures (the entire universe is potential), and his experiments to find alternative tunings to express a wide range of emotions and colors, he became one of the pioneers, besides John Fahey, of the contemporary steel-string guitar and the most important forerunner of the later New Age movement. However, Robbie's music expresses more than contemplative beauty -it is dramatic art. With his simple philosophy "soul first -technique later", Robbie developed his own musical universe to marry the spirit and rhythms of Eastern philosophies with Western folk and classical approaches. His style was a study of various different playing techniques with very complex right-hand picking patterns (using the fingernails) and a great left-hand freedom, often working very linear up the neck.In his later years he claimed to use about 30 seperate tunings and various picking-styles.But his overriding interest was not to play a technical contest or sound exotic, but to broaden the dimensions of what we know as our own.
SBJ »
[ Music, essay and picture are posted just for the benefit of the authors involved. If someone (artist, label, author) feels that this video or text should be removed, please do let me know]
http://itslostitsfound.blogspot.com/2013/10/robbie-basho-indian-ii.html
0:00 - A Day in the Life of Lemmeria
6:53 - Night Way
13:11 - The Butterfly of Wonder
1...
http://itslostitsfound.blogspot.com/2013/10/robbie-basho-indian-ii.html
0:00 - A Day in the Life of Lemmeria
6:53 - Night Way
13:11 - The Butterfly of Wonder
16:05 - Laughing Thunder, Crawling Thunder
23:07 - Thunder Sun
29:15 - Kateri Takawaitha
33:46 - Thunder Love
38:56 - Song of Great Mystery
46:31 - Death Song
I do not own or claim to own any of the content in this video. RIP Mr. Basho.
http://itslostitsfound.blogspot.com/2013/10/robbie-basho-indian-ii.html
0:00 - A Day in the Life of Lemmeria
6:53 - Night Way
13:11 - The Butterfly of Wonder
16:05 - Laughing Thunder, Crawling Thunder
23:07 - Thunder Sun
29:15 - Kateri Takawaitha
33:46 - Thunder Love
38:56 - Song of Great Mystery
46:31 - Death Song
I do not own or claim to own any of the content in this video. RIP Mr. Basho.
First ever footage of Robbie Basho surfaced last week. This is from a TV show called "Scan" that was on KQED in 1971.
The folks responsible for finding and pre...
First ever footage of Robbie Basho surfaced last week. This is from a TV show called "Scan" that was on KQED in 1971.
The folks responsible for finding and presenting this footage are;
David Greenberger, Glenn Jones, and "Tessaract3" from robbiebasho.com
First ever footage of Robbie Basho surfaced last week. This is from a TV show called "Scan" that was on KQED in 1971.
The folks responsible for finding and presenting this footage are;
David Greenberger, Glenn Jones, and "Tessaract3" from robbiebasho.com
Robbie Basho
«Trying to describe the music of Robbie Basho with tabulature and tunings is only half of the truth. The main thing is the vision to find the essence of cultures and places: the hue of nature's colors to paint with guitar and voice. Robbie's early compositions were often rough-hewn, long-winding gems full of expression and romantic visions and rooted in the new folk scene of the late 50s/ early 60s (Washington, Berkeley...).(He talked about creating "Zen-Buddhist-Cowboysongs"....) Along with his studies of flamenco techniques, blues, classical music, bluegrass, Oriental, American Indian and Hindu textures (the entire universe is potential), and his experiments to find alternative tunings to express a wide range of emotions and colors, he became one of the pioneers, besides John Fahey, of the contemporary steel-string guitar and the most important forerunner of the later New Age movement. However, Robbie's music expresses more than contemplative beauty -it is dramatic art. With his simple philosophy "soul first -technique later", Robbie developed his own musical universe to marry the spirit and rhythms of Eastern philosophies with Western folk and classical approaches. His style was a study of various different playing techniques with very complex right-hand picking patterns (using the fingernails) and a great left-hand freedom, often working very linear up the neck.In his later years he claimed to use about 30 seperate tunings and various picking-styles.But his overriding interest was not to play a technical contest or sound exotic, but to broaden the dimensions of what we know as our own.
SBJ »
[ Music, essay and picture are posted just for the benefit of the authors involved. If someone (artist, label, author) feels that this video or text should be removed, please do let me know]
http://itslostitsfound.blogspot.com/2013/10/robbie-basho-indian-ii.html
0:00 - A Day in the Life of Lemmeria
6:53 - Night Way
13:11 - The Butterfly of Wonder
16:05 - Laughing Thunder, Crawling Thunder
23:07 - Thunder Sun
29:15 - Kateri Takawaitha
33:46 - Thunder Love
38:56 - Song of Great Mystery
46:31 - Death Song
I do not own or claim to own any of the content in this video. RIP Mr. Basho.
First ever footage of Robbie Basho surfaced last week. This is from a TV show called "Scan" that was on KQED in 1971.
The folks responsible for finding and presenting this footage are;
David Greenberger, Glenn Jones, and "Tessaract3" from robbiebasho.com
Basho was born in Baltimore, Maryland, and was orphaned as an infant. Adopted by the Robinson family, Daniel Robinson, Jr. attended Catholic Schools in the Archdiocese of Baltimore and went on to study at University of Maryland College Park. Although he played the euphonium in the high school band and sang in middle school and high school ensembles, his interest in acoustic guitar grew during his college years, as a direct result of his friendships with fellow students John Fahey, Ed Denson, and Max Ochs. In 1959, Basho purchased his first guitar and immersed himself in Asian art and culture. It was around this time that he changed his name to Basho, in honor of the Japanese Poet, Matsuo Basho.
Basho's vision was to see the steel string as a concert instrument and to create a raga system for America. During a radio interview in 1974, promoting his album Zarthus, Basho discussed his music in detail. He described how he had gone through a number of "periods" related to philosophy and music, including Japanese, Hindu, Iranian and Native American. Zarthus represented the culmination of his "Persian period". Basho asserted his wish, along with John Fahey and Leo Kottke, to raise the steel-string guitar to the level of a concert instrument. He acknowledged that the nylon-string guitar was suitable for "love songs", but its steel counterpart could communicate "fire".
I am the Voice of Sun and Thunder I am the Voice of Sky so Blue I am the Voice of Constant Wonder And I am the Voice that`s a-calling you, to be true And I am the Voice that`s a-calling you, TAIOWA I Sail the Silent Scenes of Summer I Sail the Snows of Winter too, I Sail the Golden Fields of Autumn And I Sail the Spring that`s a-calling you, to be true And I Sail the Spring that`s a-calling you, TAIOWA