All apologies, I’ve fallen very behind on my reviews this year… though it’ s not due to a dearth of worthy releases! Since it’s been a little while since I’ve gushed about the legendary Bert Jansch, I thought I would talk about his latest release, In Concert, 1980, out now on SGGW. From what I understand, this show had already made the rounds on the VHS circuit (thanks Yair!) but this new issue, part of Stefan Grossman’s Guitar Artistry series, features bonus footage from a second concert, as well as a short documentary entitled A Man and His Songs. The material and performances on offer here nicely bridge the gap between Jansch’s classic solo period of the mid ’60s and the sober, welcome renaissance of recent years… and for that I consider it a document of utmost importance… but In Concert is also a rare glimpse of Jansch at his collaborative best, playing both new compositions and compelling arrangements of old favorites, with players who not only have the chops to keep up with the unpredictable Scottish guitar hero, but also carry a genuine affection for the man and his art.
The Bert Jansch Conundrum was a loose sort of group that Jansch formed in the late 70’s, presumably to add a little muscle to his sound and recreate the vibe of some of his albums from that decade. Auxiliary musicians in those years included Rod Clements, Mike Piggott, and the two men who join Jansch for this concert, mandocellist Martin Jenkins (who left his unmistakable stamp on 1979’s fascinating Avocet) and demure electric bassist Nigol Portman-Smith. This trio is a relatively tight one, and most of the tunes follow a similar presentation : Bert singing lead and chording, while Jenkins keeps the melody flowing on violin or mandocello and sings backup. Portman-Smith’s understated yet bouncy bass does a great job of holding down the low end, and these men do keep quite a solid rhythm, despite the lack of any percussion. Continue reading →
Many acoustic guitarists probably have some degree of acquaintance with the work of John Renbourn and Stefan Grossman, but for the unfamiliar, allow me to offer up a short history : After cutting his teeth in clubs during the British folk and blues revival of the early 60’s, Renbourn recorded a series of classic solo albums on the Transatlantic label, and also began a fortuitous allience with Bert Jansch, resulting in their classic Bert and John duet album, and the influential folk-jazz group Pentangle. When that group initially dissolved (it would reform in assorted incarnations over the years, centering around singer Jacqui McShee… Renbourn would be an occasional participant), the guitarist delved ever-deeper into folk and blues forms, as well as jazz and ancient Medieval music. On LPs like The Hermit and The Black Balloon, Renbourn developed a sophisticated compositional style that, while complex, also overflowed with beauty and nuance.
Stefan Grossman started as a determined young blues devotee from New York City, studying under the tutelage of Reverend Gary Davis. Grossman himself quickly became something of a guitar guru… having a keen ear, and having learned first-hand from many of the original blues masters, Grossman began authoring instructional books aimed at disseminating classic American acoustic guitar styles, from country blues to ragtime. After a short stint at architecture school, he headed over to Europe, where he lived and worked for twenty years, starting the legendary Kicking Mule record label (alongside Takoma Records cofounder Ed Denson) which was instrumental in launching the careers of world-class guitarists like Duck Baker, Peter Finger, Dave Evans and Ton Van Bergeijk. Continue reading →