hi Glenn,

you tell that Raga is ready to be downloaded from
Vanguard Records web, but i couldn't find it. might
you sign here the link where it's at? thank you.
best,
toni

--- Glenn Jones <gkjones1@...> escribió:

> Hello Rich!,
>
> Itıs positively great to hear from you again ‹ itıs
> been some years now!
>
> A few things: this isnıt the chattiest of chat
> groups ‹ long periods of
> silence ‹ but youıre presence will be an absolute
> boon, contrarian or not!
> Welcome!
>
> I think youıll find there is very little of the sort
> of hero-worshipping you
> describe. The group seems to pretty sober, genuinely
> appreciative, not at
> all gushy.
>
> Things that will likely be of interest to you, and
> to anyone in the group
> who may not know yet:
>
> 1. Venus in Cancer, remarkably, has been reissued on
> CD, on the Tompkins
> Square label.
> 2. Indian II, a never-before-issued Vanguard album,
> is available for
> download from Vanguard. Iıve heard the record, and
> itıs terrific (IMHO), the
> missing link between the Vanguard and Windham Hill
> periods, with early
> versions of ³Leaf in the Wind² (segueing into the
> old Sacred Harp spiritual,
> ³What Wonıdrous Love Is This?²), and others. And a
> great 12-string
> instrumental. ³Song of Great Mistry.²
> 3. Iım producing a LIVE Robbie Basho album ‹ the
> mastering and editing are
> done; Iım in the midst of writing liner notes, and,
> if all goes as planned,
> weıll also see some contributions from Steffen
> Basho-Junghans, Jack Rose,
> and James Blackshaw. (See below *.)
> 4. Plans are afoot to put together a Robbie Basho
> TRIBUTE album. Buck, from
> the band Arborea, is putting it together, and heıs
> already found a label
> committed to putting it out. Buck has also been
> solicitous to me as far as
> contributors go, so if anyone has suggestions or
> wants to contribute
> something, let me know. (Rich, Iım delighted to hear
> that youıre ³working in
> the genre again²; would you be interested in
> contributing to the Tribute
> album?!)
>
> * About the live album: It was recorded in Bonn,
> Germany, and comes from a
> soundboard recording, cassette copies of which I got
> from both Basho, and
> later, Steffen Basho-Junghans. Steffenıs copy was of
> slightly better sound
> quality than mine, which was at least third
> generation, and itıs the main
> source recording for the reissue, which has been
> mastered by the same guy
> who did the 1968 John Fahey Santa Barbara Oil Slick
> live album. Weıve tried
> to locate a source copy closer to the original, but
> Steffenıs fallen out of
> touch with the guy who provided him with a copy. (If
> anyone knows of copies
> of these recordings in circulation, please write me
> directly at:
> <gkjones1@...>.) Likewise any other good
> quality Basho recordings.
>
> (BTW, Iım planning to add a note to the liner notes
> for 3, above, directing
> people to this chat group. Hopefully some newcomers
> will find their way
> here.)
>
> In terms of the stuff, including tapes, which Robbie
> left the Meher Baba
> group, I have no idea whatıs become of it. I kept
> track through two or three
> moves, from CA, to CT, to NJ. The guy who knew
> Robbie in California was nice
> and very helpful, but the others were downright
> hostile once they found out
> I wasnıt a member of the group, and I finally gave
> up trying to follow the
> movements of Robbieıs possessions.
>
> The fact that theyıve done absolutely nothing with
> their holdings would have
> been a great disappointment to Robbie, Iım sure.
>
> Who performs Basho?! Iıve recently begun playing a
> mangled version of
> ³Redwood Ramble,² and Steffen plays a very
> respectable version of ³Catedrals
> Et Fleur de Lis² -- but a Basho TAB book ‹ fantastic
> idea!
>
> Cheers all, and welcome aboard Rich!
>
> Glenn Jones
> Cambridge, MA
> <gkjones1@...>
>
>
> on 11/26/07 7:00 PM, artpaws at
> artpaws@... wrote:
>
> > Hello everyone. I am new to the forum. My name is
> Rich Osborn, and I
> > live in Northern California. I knew Robbie back in
> the late 1960's
> > through the mid-1970's; studied with him for
> awhile, and even opened
> > for him in a couple of his concerts, one at the
> Oak Theater in
> > Berkeley, the other at Dinklespiel Auditorium at
> Stanford
> > University. I then lost touch with him, so that I
> wasn't aware of
> > his passing until about 1989 when I ran into one
> of his fellow
> > Sufi's.
> >
> > For me, there was a period of over 15 years during
> which I could not
> > play the guitar (I injured my left hand), and so
> became a painter.
> > But I have returned to the guitar now for the past
> 12 years. I
> > spend most of my practice time each day furthering
> the classical
> > guitar techniques that I had first studied in the
> mid-1970's. But I
> > have also begun to work once again in a free-form
> improvised raga-
> > style on the acoustic steel string.
> >
> > A few years ago, I was in touch with Glenn Jones
> for awhile,
> > discussing Robbie and especially the problems of
> getting the part of
> > the Sufi order that Robbie belonged to to open up
> their vaults of
> > tapes. And for awhile shortly afterward, I
> communicated also with
> > Stefan Basho-Junghans.
> >
> > I say all this because my interest in Robbie Basho
> is not of the
> > saint-making variety, but rather on what his
> unique contributions
> > were to our music and how to keep those active.
> And as a musician
> > myself, I am interested in discernment of what is
> of value and what
> > is not. I do not mind that others choose to
> idolize Robbie; God
> > knows, I did it myself when I was younger. As
> evidence of that, I
> > became a devotee of Meher Baba at that time, and
> traveled to India
> > and met the "mandali". In the long run, this also
> brought me into
> > contact with Tuck Andress, so I'm glad it all
> happened. But I'm
> > fairly cranky in my own opinions for practical
> reasons now.
> >
> > If I ever get the time away from my own on-going
> creative endeavors,
> > it is a dream of mine some day to notate and
> publish five or six of
> > Robbie's greatest pieces into tablature and
> standard notation, to
> > make them more accessible to future generations of
> guitarists. I
> > don't like the idea of his singular contributions
> to music being
> > lost and not fully participating in the
> development of guitar music
> > in general. By the same token, in working once
> again in the genre
> > myself, I hope to keep alive and further the
> insights and techniques
> > he developed and which, in my opinion, have never
> had an adequate
> > exploration by any musician besides Basho himself.
> >
> > If people can stand having a sometimes contrarian
> voice here, I'd
> > love to participate in the forum. I can be fairly
> critical of some
>
=== message truncated ===




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