Tuesday, October 25, 2011
Bert Jansch Bert Jansch (4*)
Around ten years ago I was marvelling at the sonic beauty of Roddy Frame's Surf, recorded in his living room, allegedly on his iMac, but here, going back close to fifty years ago is a stark reminder that you don't need state of the art recording facilities to produce something that comes across crystal clear and moves in excess of 150,000 copies.
Recorded in producer/engineer Bill Leader's flat on a semi-professional Revox tape recorder with blankets and egg boxes for soundproofing, from the opening Strolling Down the Highway, it's a seventeen track ramble through fingerpicked originals with Jimmy Giuffre's Smokey River and two takes on Davey Graham's Angie (one of them a live performance) and a nod to Charles Mingus on Alice's Wonderland. A glance at titles like Oh How Your Love Is Strong, I Have No Time, Rambling's Gonna Be the Death of Me, Running from Home and Dreams of Love might suggest common or garden folk club fare but we're talking one of the guys who set the benchmarks everyone else would be judged against.
Needle of Death provides a blueprint for Neil Young’s Needle and the Damage Done and the basis for Ambulance Blues, a debt Young acknowledged by giving Bert the opening spot on his recent Twisted Road tour. Recommended if you've got an interest in the style and the starting point for what will be an extensive investigation of a substantial discography. $11.99 from iTunes.
Wednesday, October 12, 2011
While From the Beginning might have been an exercise in emptying the vaults and causing maximum disruption to the rival product on the Immediate label it ain't too shabby.
Admittedly I didn't really need the album, having already got the Decca hit singles (What'cha Gonna Do About It, Sha-La-La-La-Lee, Hey Girl, All Or Nothing and My Mind's Eye) on an earlier Faces compilation, but from the opening reworking of Del Shannon's Runaway it's a reasonably interesting collection, largely drawn from the band's stage repertoiire over the preceding year or two.
There's material from both versions of the lineup, with keyboard duties attended to by former member Jimmy Winston (interesting take on the Marvin Gaye cover Baby, Don't You Do It with a Winston vocal) and his replacement Ian McLagan. Other covers include readings of Don Covay's Take This Hurt Off Me and Smokey Robinson and the Miracles' You've Really Got A Hold On Me that underline what a great R&B vocalist they had in Mr Marriott.
Other tracks, like My Way Of Giving (rushed out as a single by Decca while it was still at the demo stage, an act that was largely responsible for the move to Immediate) were more or less works in progress. Tell Me Have You Ever Seen Me may well have actually been finished, but was re-recorded for the new label) or demos for material handed over to other singers (My Way of Giving was done by Chris Farlowe and re-recorded for the new label). There's a Booker T & the MGs style instrumental (Plum Nellie), a couple of interesting bits of semi psychedelia (Yesterday, Today, and Tomorrow and That Man) a handful of dance floor numbers and the reissue comes with around a half dozen alternative tracks and BBC recordings.
Taken all together, while it mightn't have quite been in the same league as the classic albums from 1967 (The Doors, Something Else By The Kinks, or Disraeli Gears to name a couple of less obvious suspects from a very strong year) it's not that far behind.
And, remember, it's the leftovers after a label switch. When you look at it in that light (not that the band wanted you to back then, going as far as discouraging the punters from investing in a copy in the advertising for the Immediate Small Faces) it, even at the time you could have done far worse...
And for $10.07? For mine, a no-brainer!
A long-standing interest in the British acoustic music that hasn't consistently translated into shelf space in the music collection meant that I picked up copies of Colin Harper's Dazzling Stranger: Bert Jansch and the British Folk and Blues Revival and Rob Young's Electric Eden: Unearthing Britain's Visionary Music and devoured both in pretty quick time, figuring that they'd be pretty good starting points for a more detailed examinstion of that particular field.
At a stage where I'm investigating as much new music as I can find and filling in the gaps in a forty-year music collection those more detailed examinations aren't always going to be sitting at the top of the list of priorities and with the passing of Bert Jansch (3 November 1943 - 5 October 2011) that deferred investigation of an extensive discography is going to be posthumous.
When you're talking influences and strands running through genres it's difficult to think of many largely forgotten yet extremely influential artists than Bert Jansch. He'd been around for years, produced an extensive discography that's going to chew up an awful lot of credit card cash and shaped the playing of, among others, Jimmy Page and Neil Young, a rather interesting combination as far as Hughesy's concerned.
After all, when you think Led Zeppelin you tend to think in terms of thundering rifferamas, and while Neil Young can also thunder it out with the best of the turn it up to 11 crowd he's got an extensive array of fairly straightforward acoustic material, with Ambulance Blues being a pretty straightforward lift from Jansch's Needle of Death, which you can also hear echoes of in The Needle and the Damage Done. The influence was strong enough to have Young use Jansch as the opening act on his 2010 Twisted Road tour of North America. He was, according to Young, the acoustic equivalent of Jimi Hendrix.
Jancsh influenced plenty of others along the way, including Johnny Marr from the Smiths, the Incredible String Band's Robin Williamson (a former squatmate), Paul Simon, Pete Townshend, Donovan Nick Drake and, more recently, Devendra Banhart, Joanna Newsom, Espers, Babyshambles singer Pete Doherty, Beth Orton and Laura Marling.
A Scot of German extraction, Jansch was born in Glasgow, moved to Edinburgh as a child shortly before he fell under the spell of the guitar, Elvis Presley, Bill Haley and Lonnie Donegan after a primary school teacher in Edinburgh brought one into class. His parents couldn't afford a guitar, so he had a couple of goes at building his own before he came up with something that worked.
He worked as a nurseryman before becoming involved with the Howff folk club, where he took lessons from Scottish singer Archie Fisher and visiting American artists including Big Bill Broonzy and Brownie McGee, absorbed jazz and Arabic influences from London-based folk-baroque guitarist Davey Graham and more traditional input from singer Annie Briggs. He started writing his own material, influenced by Graham's eclecticism and moving away from the then-standard traditional and political repertoires.
There appears to have been a degree of natural flair involved, and according to legend it took only two lessons for Archie Fisher to teach him everything he knew. The second lesson was necessitated by the fact that much of the first was spent on the drink.
After a spell busking around Europe he moved to London, recording for the Transatlantic label and playing the folk club circuit playing an eclectic mixture of British folk and American blues in unusual tunings with plenty of improvisation, a fairly heady mix when you consider that, at this point, he didn't have a guitar of his own, content to use whatever instrument he could manage to scrounge temporarily at the gig and doesn't appear to have had a fixed address.
We're presumably not talking someone who spent hours in a garret honing his chops, and his first album was recorded in a kitchen on a reel-to-reel tape deck using a borrowed guitar..
His self-titled first album, which contained Needle of Death, appeared in 1965, followed later that year by It Don't Bother Me and collaborations with fellow guitarist John Renbourn (Jack Orion, Bert And John) the following year. 1967 saw the duo absorbed into ground-breaking folk supergroup Pentangle (with Jacqui McShee on vocals, bass player extraordinaire Danny Thompson and percussionist Terry Cox), an outfit that achieved commercial success between 1967 and 1972 with a string of successful albums, concerts characterised by extended solos and intensive improvisation and extensive radio and TV exposure.
Interspersed with the half-dozen albums recorded in the first incarnation of Pentangle (1968's The Pentangle and Sweet Child, 1969's Basket of Light, with Cruel Sister, Reflection and Solomon's Seal following each year until 1972) Jansch recorded another three solo albums (Nicola, Birthday Blues and Rosemary Lane) before the pressures of five world tours, recording and excessive alcohol consumption got too much for him in 1973, when he retreated to a farm in Wales.
There were occasional reunions through the eighties and nineties and into the twenty-first century, though from that point on Jansch remained essentially a solo artist who was, by all accounts, an introverted yet riveting performer, finger-picking in a style based around improvisation.
The albums, sixteen of them, followed at increasingly sporadic intervals through to 2006's The Black Swan, and along the way alcohol-related pancreatic illness prompted him to give up the drink ion 1987. International touring, Pentangle reunions, and the reappearance of his back catalogue on CD ensured a continuing though largely under the radar presence, as did TV appearances and Colin Harper's biography, Dazzling Stranger.
Heart surgery in 2005 was followed by surgery for lung cancer in 2009, a circumstance that forced him out of some opening spots on that year's Neil Young tour, though he was able to rejoin Young on the 2010 leg of the tour, but the disease returned, leaving that situation where the examination of an extensive body of work is going to need to be done posthumously.
The examination, by the way, is about to start with an $11.99 download of his fifteen track eponymous debut from 1965 (padded out with a brace of bonus tracks).