Robbie Basho’s Visions of the Country re-released – first time in 35 years.

Robbie Basho’s ‘Visions of the Country’ reissued on CD/LP 2013

Windhaming is proud to be a contributor to a new re-issue of Robbie Basho’s “Visions of the Country.” See the original Windhaming review here: https://windhaming.com/2010/01/23/whs-c-1005-robbie-basho-visions-of-the-country/

Visions of the Country
Visions of the Country

With the original master tapes long gone, Windhaming was charged with transcribing a pristine vinyl pressing to digital for mastering. 

Equipment: 

  • Vinyl Vacuum: VPI HW-17 Record Cleaning Machine
  • Turntable 1:  VPI Scout; JMW-9 arm; Dynavector 10×5 cartridge
  • Turntable 2: VPI Classic 1; JMW-10T arm; Dynavector XX-2 Mk II cartridge
  • Gingko Cloud Isolation platform
  • Cables: Furutech AG-12 tonearm cable
  • Analog to Digital Converter: TC Impact Twin
  • Computer: Apple Mac Mini 
  • Software: PureVinyl by Channel D
  • Power Regeneration: PS Audio PowerPlant Premier
  • Power Cables: Acoustic Zen Tsunami

Robbie Basho Visions of the Country Re-Issue Press Release

  • Release dates: Vinyl: August 20 — CD: September 25, 2013
  • July, 26, 2013
  • Grass-Tops Recording

FOR IMMEDIATE RELEASE: Out of print for 35 years, Robbie Basho gains new recognition with this exciting re-release of one of the finest albums ever recorded.

‘Visions of the Country’ was originally released on the hugely successful Windham Hill label back in 1978, as one of their earliest releases. Grass-Tops Recording (GrassTopsRecording.com) and Gnome Life Records (GnomeLifeRecords.com) have teamed up to bring this lost masterwork back to the public for the first time since it’s original release.

Grass-Tops Recording will be handling the CD reissue, and Gnome Life Records will be issuing an LP version. This record has been faithfully restored and remastered by Kyle Fosburgh (KyleFosburgh.com), Joe Churchich (Squeaky Clean Audio, Andover, MN), Andrew Weathers (AndrewWeathers.com), and John Dark (Curator at Windhaming.com). Both formats (CD/LP) are available for pre-order on each website now!

About Grass-Tops Recording

Grass-Tops Recording is a record label dedicated to archiving/reissuing music from the past, as well as featuring news artists who are blazing trails with original innovations in sound.

Contact:

Kyle Fosburgh, Owner/Founder

Grass-Tops Recording

kyle.fosburgh@yahoo.com

GrassTopsRecording.com (CD)

GnomeLifeRecords.com (LP)

WHS C-1010 Robbie Basho The Art of the Acoustic Steel String Guitar

Original Release Date: 1979

Current Artist Site: http://www.bluemomentarts.de/bma/rbasho/en/visions.html

Review

“The Art of the Acoustic Steel String Guitar” is the tenth Windham Hill release and the eleventh album by the artist. Because it varies somewhat stylistically from the direction that future Windham Hill albums would take, the label re-issued it under the “Lost Lake Arts” imprint as LL83.

Basho was a brilliant guitarist whose goal was to make the steel-string guitar an serious concert instrument. His work, more than others influenced William Ackerman as a guitarist. The music is admittedly and acquired taste for most, but repeated listenings will reward any who have interest in compelling and intense musicality.

Track Listing

Side One: 26:35

1. THE GRAIL AND THE LOTUS 6:36 – A Neo-Gothic construction for six string, combining East and West.

2 CATHEDRALS ET FLEUR DI LIS 7:00 – A 12th century French cathedral in the province with gardens, flowers and birds. Now comes a rainstorm, and hear the organ sounding within the church. After the rainstorm, doves flying from the cathedral windows, adn the immortal chimes.

3. PASHA II 6:33 – Islamic Hymn for the Goddess of the Rose

4. A STUDY FOR STEEL STRING 2:59 – Vivaldi and trumpets for six string guitar.

5. ACKERMAN SPECIAL 1:16 – German Rococo

6. APRES MIDI AMERICAN 1:56 – Nature Mood

Side Two: 24:42

1. VARIATIONS ON GRIEG 5:02 –  A romance for six string in C tuning (the Sun Tuning)

2. SCOTTISH RITES 4:38 – A study for 12-string thinking of Vaughan Williams

3. PAVAN INDIA 7:11 – A mini-raga for 6 string

4. VARIATIONS ON EZUMI 4:03 – A guitar piece based upon a them by Kemio Ito

5. VARIATIONS ON CLAIRE DE LUNE 3:36 No one can ever match the Claire de Lune by Presti and La Goya ( a husband and wife team on Nonesuch) but I thought this 12-string version was a good way to end the evening.

Credits

Coming Soon.

Liner Notes

It was in 1972 that I first heard Robbie Basho. Since that time I’ve been to hundreds of performances, but very few are as carved in my memory as that one. Only 50 or so people were in that tiny Berkeley rehearsal hall. I’d reviewed Robbie’s “Song of the Stallion” for Guitar Player Magazine, and he wanted me to hear hmi live. Frakly, I went to the concert out of courtesy. But I left a believer.

Robbie’s music has a way of totally captivating listeners, of enabling use to transcent our troubles, our daily concerns. We find ourselves in places we’ve perhaps never been, in times we probably never saw. WE get to experience those places and times, not with music that recreates bubbling brooks or galloping horses, but iwth performances that let us feel what Basho calls the “theatre” of America or India or generations poset or those to come.

The great classical guitarist, Andres Segovia, spent three decades before he was able to create a concert following for the solo guitar. Similarly, Robbie Basho is working to develop such an audience for the American steel string guitar. For nearly twenty years he has been touring the world to assimilate its diverse musical forms and instruments into his own approach toward the 6- and 12-string guitars. “My main desire,” he says, “is to establish the steel string as a concert instrument indigenous to America. To this end, Basho has refused to compromise his art in any way.

WHS C-1005 Robbie Basho Visions of the Country


Visions of the Country

Original Release Date: 1978

Artist Web Site: http://www.robbiebasho-archives.info/ (by Steffen Basho-Junghans)

Review

Robbie Basho’s “Visions of the Country” is the fifth Windham Hill Records release, and the 10th album by the artist. It is one of the three “lost” Windham Hill releases – those original recordings that were not re-issued when Windham Hill gained national distribution. Robbie’s second Windham Hill album, WHS-1010 “The Art of the Acoustic Steel String Guitar” was re-released under the Lost Lake Arts imprint, but not “Visions of the Country.”

On first listen, there is no doubt why. Basho’s singing (and whistling) is heartfelt, strangely soulful and intense.  Ackerman was otherwise providing a very consistent sound and look with the albums released once Windham Hill gained national distribution in 1980.

If all you are looking for is the instrumental, relaxing, almost classical feel of other Windham Hill releases “Visions of the Country” will remain a curiosity. In it, you can hear how Ackerman was inspired by the fingerpicking steel-string playing of Basho (and the other Takoma Records artists Leo Kottke and John Fahey.) But you will likely have little interest in Basho’s intense and riveting vocal style.

However, if you value intensely heartfelt, innovative and riveting music – “Visions of the Country” is an excellent introduction to a voice that deserves your attention. While not always easy listening – much of this demands attention – there remains a beauty and gentleness throughout the album.

There is much more to Basho’s story than I can go into at this time. For more information from a Basho expert, Steffen Basho-Junghans maintains an excellent site about Robbie Basho’s work and life.

Basho describes the album this way in the liner notes:

“Visions of the Country is simply an L.P. of Guitar Paintings of the Americas and other joys. It uses the folk ballad style of some and the flowing Raga style of Hindu music to express the feeling and texture of the American Wilderness…Panoramique.”

Update, 8/2013:

Visions of the Country is being re-released. Purchase the Visions of the Country CD at GrassTops and the Visions of the Country LP on Vinyl from Gnome Life.  See the Pitchfork Visions of the Country review.

With the original master tapes long gone, Windhaming was charged with transcribing a pristine vinyl pressing to digital for mastering.

Equipment:

  • Vinyl Vacuum: VPI HW-17 Record Cleaning Machine
  • Turntable 1:  VPI Scout; JMW-9 arm; Dynavector 10×5 cartridge
  • Turntable 2: VPI Classic 1; JMW-10T arm; Dynavector XX-2 Mk II cartridge
  • Gingko Cloud Isolation platform
  • Cables: Furutech AG-12 tonearm cable
  • Analog to Digital Converter: TC Impact Twin
  • Computer: Apple Mac Mini
  • Software: PureVinyl by Channel D
  • Power Regeneration: PS Audio PowerPlant Premier
  • Power Cables: Acoustic Zen Tsunami

SIDE ONE: 27:01

Green River Suite (7:46) 1978

Six String Guitar and Voice

Rodeo (2:32) 1978

Six String Guitar

Rocky Mountain Raga (7:38) 1978

Twelve string guitar and voice: violin by Antoinette Marcus

Variations on Easter (4:01) 1977

Six string guitar

Blue Crystal Fire (4:49) 1977

Six string guitar and voice

SIDE TWO: 22:18

Orphan’s Lament (3:46) 1975

Piano and voice

Leaf in the Wind (4:46) 1973

Piano and whistling

Night Way (6:14) 1973

Six string guitar and voice

Elk Dreamer’s Lament (4:14) 1978

Twelve string guitar

Call on the Wind (3:04) 1977

Six string guitar and voice

Credits

  • Recorded at Recording Etc. Productions Berkeley, CA
  • Except tracks one, two and three of side two
  • All studio production, engineering and mixing by Dennis Reed
  • Mastered by Stan Ricker
  • Pressed by Record Technology Inc. Camarillo, CA
  • Produced by William Ackerman
  • Cover Photography by Ed Cooper: Everett, WA
  • Insert photo by Jeffrey Dooley
  • All compositions by Robbie Basho
  • All selections by Windham Hill Music (BMI)
  • Manufactured by Windham Hill Records
  • Box 9388 Stanford, CA 94305
  • © (p) Windham Hill Records 1978

Liner Notes

I would paint for you a portrait of North America, as a beautiful woman, when she was young and untarmed, untrammeled upon and unshamed. Her discipline was natural, her modesty overwhelming. And in the morning she would wash the burning face of the sun with her loving mist and comb his auburn hair with balsam fur: and he would smile upon her, and the day would begin and she would spread her apron for all to gather round her and she would feed the deer and the birds and share her loving heart with all creation. And with breakfast done, she would take her waterjar across her shoulders and off to the fields she would go; the seeds of corn and squash to sow, and she would raise her head to watch the forests weave their silent singing o’er the wind; and she would tickle the streams with magic fingers and feel the water’s flow and know the humor of their coursing. And up, up into the afternoon she would saunter, the sweat upon her brow, and past the jagged rocks, and past the balsam boughs , and in the shade od cedar she would stop to rest perchance to pray. Could she forget the warmth of sun against her eyes at night, and sight has fallen slowly into sleep and keep: and awake! and shake! and clear! and down and deep she wonders with the deer, and suppertime is drawing near; and dear it is the broth of sky she drinks and sweet the taste of buttered sun before he sinks (beyond the horizon),…..and twilight winks his way into her watchful heart, and start the song. For in the evening she would sing oh so sweetly that entire earth would turn on its side the better to hear her: and moon would place his palm against his cheek and weep with deep emotion for he was an old fellow with white hair, and she made him forget the distance of eons and eons and neutrons and protons. And of course this happened a long time ago before the age of tempered steel and ruffled lace, and outer space. But One can still hear her singing in the high countries of the heart and in the vast canyons of constant memory where the life of a single being is not forgotten nor forsworm and somewhere a child is born, and no where is the blanket torn between thee and me and shining sea and   God knows
earth calls
rain falls
corn growsloloma, loloma, loloma kwak kwai