W&W : Please describe the guitar you play on your track, how long you’ve owned it, where you got it.
For this piece, and almost all of the “free raga style” work that I do, I play a guitar made in 1915 by Vincenzo DeLuccia. I got it in 1976 at Jon Lundberg’s once famous mecca for vintage guitars on Dwight Way in Berkeley. Jon told me that the face had been caved in when he first got it, so it’s gone through a major restoration. The saddle is not the original, and has been extended out to meet the fan bracing underneath. I recently learned in a conversation with luthier Paul Hostetter that this large saddle design was a unique signature of a luthier named Mario Martello who worked for Lundberg. Continue reading →
We are all one, In the Sun brings together a diverse range of artists from all over the world to celebrate and share in the spirit of the late six and twelve-string guitarist, Robbie Basho. I was thrilled to review this compilation for Work & Worry, as Robbie is a musician who has deeply touched my soul, gifting me with an influence I will carry with me for the rest of my days on this earth. Hearing a piece like “Dravidian Sunday” for the first time (from The Seal of the Blue Lotus) completely changed my outlook on not only the ragtime and blues guitar that I was learning at the time, but also my outlook on music in general. Robbie’s playing and singing seemed to evoke that longing for peace that all human beings dream of, and I knew that I had found something special. I remember thinking, and still do, that Robbie’s music exemplified a direction toward raw expression of the heart and soul that I also wanted to find in myself. Continue reading →