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Steffen Basho-Junghans, "Rivers and Bridges"
Strange Attractors
In addition to being an acoustic guitar virtuoso, SteffenBasho-Junghans also delights in painting, particularly landscapes. Thisaspect of his creative life sheds light on his latest album, a soloacoustic trip though wide-open country scenes inspired by his ruralupbringing. Basho-Junghans (he adopted the surname of guitarist RobbieBasho in his thirties as an homage to his idol) approaches the projectmuch like a painting, and the guitar serves as his brush, craftingswirls and flourishes of sounds that fall back in on themselves andreemerge repeatedly. Each of the six tracks serves as a movement, asimple element in a broader scene. The twenty-minute six-string opener,"The River Suite," begins with a light ascension of plucked notes,lifting the music up and across the rapid cascade of tones that beginto rush beneath it. The music follows the stream, building, releasing,pausing, lingering, and all developing over a repeated body ofplucking. The repetition can be somewhat tiring, especially on thelonger tracks, like "The Takoma Bridge Incident." Though the ideas arecompelling in parts, they are exhausted by the end of the piece. Theshorter excursions on the second half of the album seem to discover andconvey their concepts much more effectively. "Rainbow Dancing" finds aclear melody, and stands as one of the more pleasant songs. On thistrack, Basho-Junghans switches to a twelve-string guitar, giving thetrack a lush, full-bodied sound that feeds the pastoral theme of thealbum. It sounds like how lying in a patch of sun soaked grass feels.Another advantage that "Rainbow Dancing" has is that it doesn't lingeron so long that you grow tired of its ideas. The lonely melody of"Autumn II" is perfectly evocative of the wailing voice of a bluegrassfolk spiritual. The weariness expressed by the piece gives off splashesof rust red and fading green, leading into the dusky "Epilogue." Thoughthe span of the album may be marked with lulls, the higher points of Rivers and Bridgesshine through. Basho-Junghans has produced a musical landscapepainting, complete with the valleys and crests, shadows andilluminations; the subtle nuances that make a work worth seeing.
In addition to being an acoustic guitar virtuoso, SteffenBasho-Junghans also delights in painting, particularly landscapes. Thisaspect of his creative life sheds light on his latest album, a soloacoustic trip though wide-open country scenes inspired by his ruralupbringing. Basho-Junghans (he adopted the surname of guitarist RobbieBasho in his thirties as an homage to his idol) approaches the projectmuch like a painting, and the guitar serves as his brush, craftingswirls and flourishes of sounds that fall back in on themselves andreemerge repeatedly. Each of the six tracks serves as a movement, asimple element in a broader scene. The twenty-minute six-string opener,"The River Suite," begins with a light ascension of plucked notes,lifting the music up and across the rapid cascade of tones that beginto rush beneath it. The music follows the stream, building, releasing,pausing, lingering, and all developing over a repeated body ofplucking. The repetition can be somewhat tiring, especially on thelonger tracks, like "The Takoma Bridge Incident." Though the ideas arecompelling in parts, they are exhausted by the end of the piece. Theshorter excursions on the second half of the album seem to discover andconvey their concepts much more effectively. "Rainbow Dancing" finds aclear melody, and stands as one of the more pleasant songs. On thistrack, Basho-Junghans switches to a twelve-string guitar, giving thetrack a lush, full-bodied sound that feeds the pastoral theme of thealbum. It sounds like how lying in a patch of sun soaked grass feels.Another advantage that "Rainbow Dancing" has is that it doesn't lingeron so long that you grow tired of its ideas. The lonely melody of"Autumn II" is perfectly evocative of the wailing voice of a bluegrassfolk spiritual. The weariness expressed by the piece gives off splashesof rust red and fading green, leading into the dusky "Epilogue." Thoughthe span of the album may be marked with lulls, the higher points of Rivers and Bridgesshine through. Basho-Junghans has produced a musical landscapepainting, complete with the valleys and crests, shadows andilluminations; the subtle nuances that make a work worth seeing.
