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 →
Last Friday night was a night that I had been anticipating for a very long time. After two illness-related cancellations in the last two years, legendary Scottish guitarist Bert Jansch finally made it to Pittsburgh, one of only a handful of US performances this fall. The man should need no introduction, but for the unfamiliar, Bert Jansch came to prominence in the British folk and blues revival of the 1960’s, both as a solo artist and a member of the jazz/folk fusion group Pentangle. His playing and songwriting have been enormously influential in the folk world and beyond, and his praises have been sung by everyone from Led Zeppelin’s Jimmy Page (who pinched Bert’s arrangement of the traditional “Blackwaterside”, and without crediting him) to Neil Young, for whom Bert served as opening act on his last tour.
On this latest trek, Bert was headlining, and his support was Pegi Young (Neil’s wife) and her band, The Survivors, who were all seasoned west coast session musicians. The setting was the First Unitarian Church, which proved a great sounding venue for both Pegi Young’s country rock and Bert’s solo acoustic set. I wasn’t sure how many people would be attending the show, so I purchased tickets well in advance, not wanting to chance a sell-out. As it turns out, there were a fair number of empty pews that night, which I considered mind-boggling… this was Bert Jansch!!! How many times was he going to come back to Pittsburgh?! I didn’t dwell on it for very long… being a friend of the promotor, I knew that Bert would get paid no matter who showed up, and the modest crowd (100-125 people, maybe?) made for a memorable, intimate night. Continue reading →