by Mario Calvitti
On the occasion of the release of German guitarist Steffen Basho-Junghans' album The Dancer on the Hill (Architects of Harmonic Rooms & Records, 2020) after 10 years of discographic silence, All About Jazz contacted the artist for a short interview. All About Jazz: Your new album Dancer on the Hill comes out more than 10 years after the previous one, IS, which was published in 2009. Why was there such a long gap between recordings, after an intense ...read more
by Dennis Hollingsworth
Painter, guitarist, composer, and free author Steffen Basho-Junghans lives in Berlin and Thuringia, Germany. He has been highly influential on the eastern German guitar scene since the late '70s. Largely a self-taught artist and musician, his style is best categorized as eccentric and highly personal. Junghans uses steel-string acoustic guitars, combining archaic sounds with altered tunings and a plethora of divergent connections. Traditional European, American Indian, and Asian scales create a landscape with circuitous ties to East Indian instruments like ...read more
by AAJ Staff
I have to admit it: the first time I heard Steffen Basho Junghans, I honestly didn't get it. Junghans is an iconoclast of the highest order. His solo guitar performances sound like intergalactic symphonies, weird extraterrestrial voyages through timbre and texture. One cannot fully appreciate this music by inspecting its meticulous detail--instead, you must zoom out to see the forest instead of the trees.
On Waters in Azure, Junghans takes a decidedly aquatic approach to guitar deconstruction. This music has ...read more
by AAJ Staff
Apparent simplicity can often disguise depth of thought. Guitarist Steffen Basho-Junghans demonstrates this point convincingly on his new disc, double-entendred Inside.. Recorded live to tape, this performance relies on resonance, stark repetition, juxtaposed rhythmic units, and ornamentation to achieve its effects. Basho-Junghans abandons any conventional sense of melody or harmony, instead structuring his music upon gradual tonal development.
The double meaning of the title refers at once to the music's authentic trance-like character and the ironically outside" nature of the ...read more
by AAJ Staff
In this striking departure from the free/avant sound of other Sublingual material, guitarist Steffen Basho-Junghans operates his instrument in the continuum extending from Leo Kottke through John Fahey and Ralph Towner. On Song of the Earth, his fourth record and first American release, Junghans plays 6- and 12-string guitars. Using resonance and repetition to achieve an open, airy sound, Junghans explores the dimensions of harmonic space. Don't misunderstand: there's no wild improvised extroversion here, only measured contemplative introspection. Much of ...read more