Bert Jansch

Bert Jansch

Jansch performing in August 2006
Background information
Born 3 November 1943 (1943-11-03) (age 67)
Glasgow, Scotland
Genres Folk
Occupations Musician, Songwriter
Instruments Guitar
Years active 1965 – present
Labels Transatlantic
Charisma
Associated acts Pentangle
Website www.bertjansch.com

Herbert Jansch (born 3 November 1943), known as Bert Jansch, is a Scottish folk musician and founding member of the band Pentangle. He was born in Glasgow and, in the 1960s, he was heavily influenced by the guitarist Davey Graham and folk singers such as Anne Briggs. He is best known as an innovative and accomplished acoustic guitarist but is also a singer and songwriter.

He has recorded at least 25 albums and has toured extensively starting in the 1960s and continuing into the 21st century. His work has influenced such artists as Paul Simon, Johnny Marr, Bernard Butler, Jimmy Page, Nick Drake, Donovan and Neil Young. He has received two Lifetime Achievement Awards at the BBC Folk Awards: one, in 2001, for his solo achievents and the other, in 2007, as a member of Pentangle.

Contents

Early years

Bert Jansch was born at Stobhill Hospital, Glasgow in 1943, the descendent of a family, originally from Hamburg, who settled in Britain during the Victorian era.[1] The family name is pronounced as 'Yansh' [jænʃ] by almost everyone except Jansch himself, and some close members of his family who pronounce it as 'Jansh' [dʒænʃ].[2] Jansch was brought up in Edinburgh, where he attended Pennywell Primary School and Ainslie Park Secondary School.[3] As a teenager, he acquired a guitar and started visiting a local folk club ("The Howff") run by Roy Guest.[4] There, he met Archie Fisher and Jill Doyle (Davey Graham's half sister),[5] who introduced him to the music of Big Bill Broonzy, Pete Seeger, Brownie McGhee and Woody Guthrie.[3] He also met and shared a flat with Robin Williamson, who remained a friend when Jansch later moved to London.[6]

After leaving school, Jansch took a job as a nurseryman,[7] then in August 1960, he gave this up, with the intention of being a full-time musician.[8] He appointed himself as an unofficial caretaker at The Howff and, as well as sleeping there, he may have received some pay to supplement his income as a novice performer who did not own his own guitar.[9] He spent the next two years playing one-night stands in British folk clubs.[3] This was a musical apprenticeship that exposed him to a range of influences, including Martin Carthy and Ian Campbell, but especially Anne Briggs, from whom he learned some of the songs (such as "Blackwaterside" and "Reynardine") that would later feature strongly in his recording career.[3]

Between 1963 and 1965, he travelled around Europe and beyond, hitch-hiking from place to place and living on earnings from busking and casual musical performances in bars and cafes.[10] Before leaving Glasgow, he married a 16-year-old girl called Lynda Campbell: a marriage of convenience, which allowed her to travel with him although she was too young to have her own passport.[11] They split up after a few months and Jansch was eventually repatriated to Britain after catching dysentery in Tangiers.[11]

London (mid-1960s)

Jansch moved to London where, in the mid-1960s, there was a burgeoning interest in folk music.[12] There, he met the engineer and producer, Bill Leader, at whose home they made a recording of Jansch's music on a reel-to-reel tape recorder. Leader sold the tape for £100 to Transatlantic Records, who produced an album directly from it.[13] The album Bert Jansch was released in 1965 and went on to sell 150,000 copies.[14] It included Jansch's protest song "Do You Hear Me Now" which was brought to the attention of the pop music mainstream later that year by the singer Donovan, who covered it on his Universal Soldier EP, which reached No. 1 in the UK EP chart and No. 27 in the singles chart.[15] Also included in Jansch's first album was his song "Needle of Death" which is claimed to have influenced the drug-taking habits of a generation of British youth.[16] In his early career, Jansch was sometimes characterized as a British Bob Dylan.[17]

Jansch followed his first album with two more, produced in quick succession: It Don't Bother Me and Jack Orion[18]—which contained his first recording of "Blackwaterside", later to be taken up by Jimmy Page and recorded by Led Zeppelin as "Black Mountain Side".[19] Jansch says:

The accompaniment was nicked by a well-known member of one of the most famous rock bands, who used it, unchanged, on one of their records.[20]

Transatlantic took legal advice about the alleged copyright infringement and were advised that there was "a distinct possibility that Bert might win an action against Page".[21] Ultimately, Transatlantic were dubious about the costs involved in taking on Led Zeppelin in the courts, and half the costs would have had to be paid by Jansch personally, which he simply could not afford, so the case was never pursued.[22]

In London, Jansch met up with other innovative acoustic guitar players, including John Renbourn (with whom he shared a flat in Kilburn), Davey Graham and Paul Simon. They would all meet and play in various London music clubs, including The Troubadour, in Old Brompton Road,[23] and Les Cousins club in Greek Street, Soho.[24] Renbourn and Jansch frequently played together, developing their own intricate interplay between the two guitars, often referred to as 'Folk baroque'.[25] In 1966, they recorded the Bert and John album together, featuring much of this material.[26] Late in 1967 they tired of the all-nighters at Les Cousins and became the resident musicians at a music venue set up by Bruce Dunnett, a Scottish entrepreneur, at The Horseshoe pub (now defunct) at 264-267 Tottenham Court Road.[27] This became the haunt of a number of musicians, including the singer Sandy Denny.[28] Another singer, Jacqui McShee began performing with the two guitarists and, with the addition of Danny Thompson (string bass) and Terry Cox (drums), they formed the group, Pentangle.[29] The venue evolved into a jazz club, but by then the group had moved on.[30]

On 19 October 1968, Jansch married Heather Sewell.[31] At the time, she was an art student and had been the girlfriend of Roy Harper.[32] She inspired several of Jansch's songs and instrumentals: the most obvious is "Miss Heather Rosemary Sewell", from his 1968 album, Birthday Blues, but Jansch says that, despite the name, "M'Lady Nancy" (from the 1971 Rosemary Lane album) was also written for her.[33] As Heather Jansch she has become a well-known sculptor.[34]

Pentangle years (1968 – 1973)

Pentangle's first major concert was at the Royal Festival Hall, in 1967, and their first album was released in the following year.[35] Pentangle embarked on a demanding schedule of touring the world and recording and, during this period, Jansch largely gave up solo performances.[36] He did, however, continue to record, releasing Rosemary Lane in 1971. The tracks, for this album were recorded on a portable tape recorder by Bill Leader at Jansch's cottage in Ticehurst, Sussex — a process which took several months, with Jansch only working when he was in the right mood.[37]

Pentangle reached their highest point of commercial success with the release of their Basket Of Light album in 1969. The single, Light Flight, taken from the album became popular through its use as theme music for a TV drama series Take Three Girls (the BBC's first drama series to be broadcast in colour) for which the band also provided incidental music.[38] In 1970, at the peak of their popularity, they recorded a soundtrack for the film Tam Lin, made at least 12 television appearances, and undertook tours of the UK (including the Isle of Wight Festival) and America (including a concert at the Carnegie Hall).[39] However, their fourth album, Cruel Sister, released in October 1970, was a commercial disaster.[40] This was an album of traditional songs that included a 20-minute long version of Jack Orion, a song that Jansch and Renbourn had recorded previously as a duo on Jansch's Jack Orion album.[41]

Pentangle recorded two further albums, but the strains of touring and of working together as a band were taking their toll.[42] Then Pentangle withdrew from their record company, Transatlantic, in a bitter dispute regarding royalties.[43] The final album of the original incarnation of Pentangle was Solomon's Seal released by Warner Brothers/Reprise in 1972. Colin Harper describes it as "a record of people's weariness, but also the product of a unit whose members were still among the best players, writers and musical interpreters of their day".[44] Pentangle split up in January 1973, and Jansch and his wife bought a farm near Lampeter, in Wales, and withdrew temporarily from the concert circuit.[45]

Late 1970s

After two years as a farmer, Jansch left his wife and family and returned to music (although Jansch and his wife would not be formally divorced until 1988).[46] In 1977, he recorded the album A Rare Conundrum with a new set of musicians: Mike Piggott, Rod Clements and Pick Withers. He then formed the band Conundrum with the addition of Martin Jenkins (violin) and Nigel Smith (bass). They spent six months touring Australia, Japan and the United States.[47] With the end of the tour, Conundrum parted company and Jansch spent six months in the United States, where he recorded the Heartbreak album with Albert Lee.[47]

Jansch toured Scandinavia, working as a duo with Martin Jenkins and, based on ideas they developed, recorded the Avocet album (initially released in Denmark).[48] Jansch rates this as amongst his own favourites from his own recordings.[49] On returning to England, he set up Bert Jansch's Guitar Shop at 220, New King's Road, Fulham.[47] The shop specialised in hand-built acoustic guitars but was not a commercial success and closed after two years.[50]

1980s

In 1980, an Italian promoter encouraged the original Pentangle to reform for a tour and a new album.[51] The reunion started badly, with Terry Cox being injured in a car accident, resulting in the band's debuting at the Cambridge Folk Festival as a four-piece Pentangle.[51] They managed to complete a tour of Italy (with Cox in a wheelchair) and Australia, before Renbourn left the band in 1983.[52] There then followed a series of personnel changes, ultimately leaving Jansch and McShee as the only original members.[53] The final incarnation consisting of Jansch, McShee, Nigel Portman Smith (keyboards), Peter Kirtley (guitar and vocals) and Gerry Conway (drums) survived from 1987 to 1995 and recorded three albums: Think of Tomorrow, One More Road and Live 1994.[54]

Jansch had always been a heavy drinker, but in 1987 he fell ill while working with Rod Clements and was rushed to hospital, where he was told that he was "as seriously ill as you can be without dying" and that he had a choice of "giving up alcohol or simply giving up".[55] He chose the former option: Colin Harper states that "There can be no doubt that Bert's creativity, reliability, energy, commitment and quality of performance were all rescued dramatically by the decision to quit boozing".[56] Jansch and Clements continued the work they had started before Jansch's illness, resulting in the 1988 Leather Launderette album.[56]

1995 onwards

From 1995, Jansch appeared frequently at the 12 Bar Club in Denmark Street, London.[57] One of his live sets there was recorded direct to Digital Audio Tape (DAT) by Jansch's then manager, Alan King and was released as the Live at the 12 Bar: an official bootleg album in 1996.[58] In 2002 Jansch, Bernard Butler and Johnny "Guitar" Hodge performed live together at the Jazz Cafe, London.[59] In 2003, Jansch celebrated his sixtieth birthday with a concert at the Queen Elizabeth Hall, London. Guest musicians included Johnny Marr, Bernard Butler, Ralph McTell, Hope Sandoval, David Roback and Colm Ó Cíosóig.[49] Butler, McTell, Sandoval and Ó Cíosóig had all contributed to Jansch's 2002 Edge of a dream album.[49] Also as a sixtieth birthday tribute, the BBC organised a concert for Jansch and various guests at the church of St Luke Old Street, which was televised on BBC Four.[49]

In 2005, Jansch teamed up again with one of his early influences, Davey Graham, for a small number of concerts in England and Scotland.[60] However, his concert tour had to be postponed, owing to illness, and Jansch underwent major heart surgery in the later part of 2005.[61] By 2006 he had recovered and was playing concerts again. Jansch's album The Black Swan (his first for four years) was released on Sanctuary on 18 September 2006, featuring Beth Orton and Devendra Banhart on tracks "Katie Cruel", "When the Sun Comes Up", and "Watch the Stars", amongst other guests.[62] In 2007, he featured on Babyshambles album, Shotter's Nation, playing acoustic guitar in the song "The Lost Art of Murder".[63] After recording, he accompanied Babyshambles' lead singer Pete Doherty on several of his acoustic gigs, and performed on the Pete and Carl Reunion Gig, where ex-Libertines and Dirty Pretty Things singer Carl Barat joined Doherty on stage.[64]

In 2009 he played a concert at the London Jazz Cafe to celebrate the release of three of his older albums (LA Turnaround, Santa Barbara Honeymoon and A Rare Conundrum) on CD format.[65] However, later that year, due to an unexpected illness, he had to cancel a 22-date North American tour that was due to start on 26 June. Jansch's website reported: "Bert is very sorry to be missing the tour, and apologises to all the fans who were hoping to see him. He is looking forward to rescheduling as soon as possible."[66]

In February of 2010 Jansch was announced as a performer at Eric Clapton's Crossroads festival in June 2010. This was followed by the announcement in April of 2010 that Jansch would be opening for Neil Young on his Twisted Road solo acoustic tour starting on May 18 in the US. These will be Jansch's first shows since his illness.[67]

Recognition and awards

In 2001 Jansch received a Lifetime Achievement Award at the BBC Radio 2 Folk Awards,[68] and on 5 June 2006, he received the Mojo Merit Award at the Mojo Honours List ceremony, based on "an expanded career that still continues to be inspirational". The award was presented by Beth Orton and Roy Harper. Another award winner at the ceremony was Sir Elton John, who reminisced from the stage about how he and Bernie Taupin used to listen to Bert Jansch records.[69]

In January 2007, the five original members of Pentangle (including Jansch) were given a Lifetime Achievement award at the BBC Radio 2 Folk Awards.[70] The award was presented by Sir David Attenborough. Producer John Leonard said "Pentangle were one of the most influential groups of the late 20th century and it would be wrong for the awards not to recognise what an impact they had on the music scene."[71] Pentangle played together for the event, for the first time in over 20 years and their performance was broadcast on BBC Radio 2 on Wednesday 7 February 2007.[72] Also in 2007, Jansch was awarded an Honorary Doctorate of Music by Edinburgh Napier University, "in recognition of his outstanding contribution to the UK music industry".[73]

Music

Bert Jansch's musical influences are many and varied: early influences were American bluesman such as Big Bill Broonzy[74] and, particularly, Brownie McGhee, who Jansch first saw playing at The Howff in 1960 and, much later, claimed that he'd "still be a gardener" if he hadn't encountered McGhee and his music.[75] However, Jansch was also strongly influenced by the British folk music tradition, particularly by Anne Briggs[76] and, to a lesser extent, A.L. Lloyd.[77] Other infuences included jazz (notably Charlie Mingus[78]), early music (John Renbourn and Julian Bream[79]) and other contemporary singer-songwriters—especially Clive Palmer.[80] The other major influence was Davey Graham[81] who, himself, brought together an eclectic mixture of musical styles.[82] Also, in his formative years, Jansch had busked his way through Europe to Morocco, picking up musical ideas and rhythms from many sources.[10] From these influences, he has distilled his own individual guitar style.

Some of his songs feature a basic clawhammer style of right-hand playing but these are often distinguished by unusual chord voicings or by chords with added notes. An example of this is his song "Needle of Death", which features a simple picking style but several of the chords are decorated with added ninths. Characteristically, the ninths are not the highest note of the chord, but appear in the middle of the arpeggiated finger-picking, creating a "lumpiness" to the sound.[83]

Another characteristic feature is his ability to hold a chord in the lower strings whilst bending an upper string—often bending up from a semitone below a chord note. These can be heard clearly on songs such as "Reynardine" where the bends are from the diminished fifth to the perfect fifth.[84] Like many guitarists, string bends are a feature of his work and are often used to create notes which are just slightly sharp or slightly flat (by bending a little less than a semitone), creating the impression of a tonality that does not belong to a diatonic scale.

Jansch often fits the accompaniment to the natural rhythm of the words of his songs, rather than playing a consistent rhythm throughout. This can lead to occasional bars appearing in unusual time signatures. For example, his version of the Ewan MacColl song "The First Time Ever I Saw Your Face", unlike most other covers of that song, switches from 4/4 time to 3/4 and 5/4.[85] A similar disregard for conventional time signatures is found in several of his collaborative compositions with Pentangle: for instance, "Light Flight" from the Basket of Light album includes sections in 5/8, 7/8 and 6/4 time.[86]

Instruments

Through the development of Pentangle, Jansch played a number of instruments: banjo,[87] Appalachian dulcimer,[88] recorder[89] and concertina[90]—on rare occasions he has even been known to play electric guitar.[91] However, it is his acoustic guitar playing that is most notable.[92] Jansch's first guitar was home-made fom a kit[93] but when he left school and started work, he bought a Hoffner cello-style guitar.[94] Soon he traded this in for a Zenith, which was marketed as the "Lonnie Donegan guitar" and which Jansch played in the folk clubs in the early 1960s.[95] His first album was reputedly recorded using a Martin 0028 borrowed from Martin Carthy.[96] Pictures of Jansch in the middle 1960s show him playing a variety of models, including Martin and Epiphone guitars.[97] He had a guitar hand-built by John Bailey, which was used for most of the Pentangle recordings but was eventually stolen.[98] He then had a contract with Yamaha, who provided him with an FG1500 which he is still playing, along with a Yamaha LL11 1970s jumbo guitar.[96] Jansch's relationship with Yamaha continues and they presented him with an acoustic guitar with gold trim and abalone inlay for his 60th birthday although, valued at about £3000, Jansch is quoted as saying that it is too good for stage use.[99] Jansch is also well known as a player of Fylde Guitars.[100]

Influence

Jansch's music, and particularly his acoustic guitar playing, have influenced a range of well-known musicians. His first album (the 1965 Bert Jansch) was much admired, with Jimmy Page saying "At one point, I was absolutely obsessed with Bert Jansch. When I first heard that LP, I couldn't believe it. It was so far ahead of what everyone else was doing. No one in America could touch that."[101] Page would later record a version of Jansch's "Blackwaterside".[102] The same album included Jansch's version of the Davy Graham instrumental "Angie". This was a favourite of Mike Oldfield, who practised acoustic guitar alone as a child, and was then heavily influenced by Jansch's style. The title of the instrumental inspired Oldfield to call his first band (with sister Sally) "The Sallyangie".[103] Jansch's version of Angie was also the inspiration for Paul Simon's recording of the piece on his "Sounds of Silence" album.[104] From the same era, Neil Young is quoted as saying, "As much of a great guitar player as Jimi [Hendrix] was, Bert Jansch is the same thing for acoustic guitar...and my favourite."[105] Nick Drake and Donovan were both admirers of Jansch:[106] both recorded covers of his songs and Donovan went on to dedicate two of his own songs to Jansch; "Bert's Blues" appeared on his "Sunshine Superman" LP, and "House of Jansch" on his fourth album "Mellow Yellow".[107] Other tributes included Gordon Giltrap's album "Janschology" (2000) which has two tunes by Jansch, plus two others that show his influence.[108]

Jansch went on to influence a later generation of guitar players. Bernard Butler states that Noel Gallagher, Jarvis Cocker, and Johnny Marr (as well as himself) have "paid homage to this quiet, unassuming, but hugely revered master".[109] Further afield, the Japanese acoustic guitar player Tsuneo Imahori is known to have been heavily influenced by Jansch.[110]

Discography

See also: Pentangle

Albums

Live

Singles and E.P.s

Compilations

DVD

References

  1. ↑ Harper, Colin (2006). Dazzling Stranger: Bert Jansch and the British Folk and Blues Revival (2006 edition). Bloomsbury. ISBN 0-7475-8725-6. 
  2. ↑ Harper. p.7
  3. ↑ 3.0 3.1 3.2 3.3 Kennedy, Doug (1983). The Songs and Guitar Solos of Bert Jansch. New Punchbowl Music. p. 7. 
  4. ↑ Harper. p.57
  5. ↑ Hodgkinson, Will (5 May 2006). "Bert Jansch: A lesson with the master". The Independent. http://enjoyment.independent.co.uk/music/features/article361942.ece. 
  6. ↑ Harper, p.84
  7. ↑ Harper, p.13
  8. ↑ Harper, p.61. which also notes that he worked for about a month in a supermarket
  9. ↑ Harper. p.61
  10. ↑ 10.0 10.1 Kennedy p.10
  11. ↑ 11.0 11.1 Harper. p.125
  12. ↑ Harper. pp.16–43 (the chapter London:the first days)
  13. ↑ See sleevenotes of the CD re-release of the album
  14. ↑ Grunenberg, Christoph; Harris, Jonathan (2005). Summer Of Love: Psychedelic Art, Social Crisis and Counterculture in the 1960s. Liverpool University Press. ISBN 0-85323-919-3. 
  15. ↑ John Crosby's sleeve notes from the Donovan CD Donovan: The Very Best Of The Early Years
  16. ↑ Grunenberg & Harris. pp.139-140: "Needle of Death...did far more to make skag a drug of choice among hip British teenagers than a decade's worth of later releases on the same subject by the likes of Lou Reed [and others]..."
  17. ↑ Harper p.111 (although Harper points out that this comparison was not in line with Jansch's desires)
  18. ↑ Harper. p.357 It Don't Bother Me was released in December 1965 and Jack Orion in September 1966
  19. ↑ Harper pp.3-4
  20. ↑ Kennedy p.21
  21. ↑ Nat Joseph of Transatlantic Records, quoted in Harper, p.5
  22. ↑ Harper p.5
  23. ↑ Harper. p.160
  24. ↑ Harper. p.175
  25. ↑ Grove's Dictionary of Music (online edition) uses the term folk baroque in articles on both Jansch and Renbourn, but particularly cites the Bert and John album as exemplifying the term
  26. ↑ Harper. p.198
  27. ↑ "Dead Pub Society website". http://www.deadpubssociety.org.uk/index.php?title=The_Horseshoe. Retrieved 2007-01-10. 
  28. ↑ Harper. p.212
  29. ↑ Harper. p.212-213
  30. ↑ McKay, Alastair (3 November 2003). "No Strings Attached". The Scotsman. http://thescotsman.scotsman.com/s2.cfm?id=1210472003. Retrieved 2007-01-10.  Interview with Bert Jansch on his 60th birthday
  31. ↑ Harper. p.222
  32. ↑ Harper pp.221-222
  33. ↑ Kennedy p.26
  34. ↑ Heather Jansch's website. Retrieved 19 February 2010.
  35. ↑ Harper. pp.211, 220
  36. ↑ Harper. p214
  37. ↑ Wilcock, Steve. "Bert Jansch – "Rosemary Lane"". Triste (4). http://www.triste.co.uk/artroselane.htm. Retrieved 2007-01-10.  Triste examines just what makes Bert Jansch's 1971 solo album, Rosemary Lane, recorded on sabbatical from Pentangle, so special.
  38. ↑ Guinness Book of British Hit Singles 7th Edition - 1988
  39. ↑ Harper p.224
  40. ↑ Harper p.228
  41. ↑ Harper. p.375
  42. ↑ Harper p.229
  43. ↑ Ref. Harper p.235
  44. ↑ Harper. p237
  45. ↑ Kennedy. p.26
  46. ↑ Harper p.252
  47. ↑ 47.0 47.1 47.2 Kennedy p.32
  48. ↑ Harper. p.263
  49. ↑ 49.0 49.1 49.2 49.3 Harper. p.313
  50. ↑ Harper p.296
  51. ↑ 51.0 51.1 Harper. p.270
  52. ↑ Harper. p.271
  53. ↑ Harper. pp. 269–282
  54. ↑ Harper p.295
  55. ↑ Harper. p.278
  56. ↑ 56.0 56.1 Harper. p.279
  57. ↑ Harper. pp.295-296
  58. ↑ Harper. p.299
  59. ↑ Bert Jansch's website, retrieved 19 February 2010: "Bert's September 23 show at the Jazz Cafe in London.... Bert was joined onstage by Bernard Butler on guitar and Makoto Sakamoto on drums, as well as, earlier in the set, Johnny "Guitar" Hodge on acoustic guitar and Loren Jansch on vocals."
  60. ↑ Bert Jansch's website: Latest News section. Retrieved 23 February 2010.
  61. ↑ "Bert Jansch's website". http://www.bertjansch.com/live.html. Retrieved 2007-01-10. "Live gigs were due to resume in the later part of [2005]...however that tour had to be postponed, as Bert had to undergo heart surgery. He is now recovered..."
  62. ↑ "Bert Jansch's website". http://www.bertjansch.com/live.html. Retrieved 2007-01-10. Details of the album are given on Jansch's website
  63. ↑ Babyshambles' new album - track-by-track verdict, NME Online, 1 August 2007. Retrieved 18 February 2010.
  64. ↑ The Libertines reunite at Hackney gig , NME online, 12 April 2007. Retrieved 18 February 2010.
  65. ↑ Jazz cafe live. Retrieved 19 February 2010.
  66. ↑ Bert Jansch website retrieved 18 February 2010
  67. ↑ Bert Jansch website retrieved 10 April 2010
  68. ↑ BBC Radio 2 Folk Awards. Retrieved 2 March 2010.
  69. ↑ "Bert Jansch's website". http://www.bertjansch.com/news.html. Retrieved 2007-01-10. 
  70. ↑ BBC Radio 2 Folk Awards. Retrieved 2 March 2010.
  71. ↑ BBC Press release. Retrieved 2 March 2010.
  72. ↑ BBC Folk Awards
  73. ↑ Napier University website. Retrieved 21 February 2010.
  74. ↑ Harper. p.58
  75. ↑ Harper. pp.57-58
  76. ↑ Harper p.113
  77. ↑ Harper p.199, particularly regarding Jack Orion
  78. ↑ Harper. p.92 particularly mentions the record Mingus Ah-Um as an influence
  79. ↑ Harper. p.263
  80. ↑ Harper. p.92
  81. ↑ Harper. p.86
  82. ↑ See Wikipedia article Davey Graham
  83. ↑ Kennedy p.14
  84. ↑ Kennedy p.8
  85. ↑ Kennedy p.16
  86. ↑ See sleeve notes of Basket of Light
  87. ↑ For example, the song "House Carpenter" from the Basket of Light album (see album sleeve notes)
  88. ↑ For example, the song "A maid that's deep in love" from the Cruel Sister album (see album sleeve notes)
  89. ↑ For example, in the song "The Snows", from the Solomon's Seal album (see album sleeve notes)
  90. ↑ For example, the song "Lord Franklin", from the Cruel Sister album (see sleeve notes)
  91. ↑ Unterberger, Richie (2003). Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock. San Francisco: Backbeat Books. p. 146. ISBN 0-87930-743-9. 
  92. ↑ Harper, p.84, describes his playing, in his early days, as "increasingly accomplished, if singular". p.106 quotes Frank Coia as saying Jansch's style "was a total diversity from normal, conventional playing - in tonality, in dissonance, in his idea on chord progressions. [...] His accentuation and the actual timing [...] is so unique.".
  93. ↑ Harper. p.12
  94. ↑ Harper. p.13
  95. ↑ Harper. p.22
  96. ↑ 96.0 96.1 Spencer, Neil (2006-09-17). "Let's stick together". The Observer. http://www.guardian.co.uk/music/2006/sep/17/17. Retrieved 2009-02-06. 
  97. ↑ See photographs section of Jansch's website
  98. ↑ Harper. p.209
  99. ↑ Mulvey, John (29 December 2003). "The guitar men". The Scotsman. http://heritage.scotsman.com/topics.cfm?tid=715&id=1416532003. Retrieved 2007-01-10. 
  100. ↑ Fylde guitars website lists Jansch as a player of their instruments
  101. ↑ Quoted in a list of tributes to Jansch inside the front cover of Harper's biography.
  102. ↑ Harper. pp3-4
  103. ↑ DeRogatis, Jim (2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock. Hal Leonard. p. 173. ISBN 0-634-05548-8. 
  104. ↑ Harper p.335. Quote that Jansch is incredulous that Simon's version of Anji (and other subsequent recordings) are based on his own, "mistakes and all"
  105. ↑ Quoted on Jansch's website
  106. ↑ Jerey Simmonds, The Encyclopedia of Dead Rock Stars: Heroin, Handguns, and Ham Sandwiches, Chicago Review Press, 2008 ISBN 1556527543, 9781556527548; p.75: "[Drake] was inspired by musicians like Bert Jansch and John Renbourn"
  107. ↑ See Wikipedia articles Sunshine Superman (album) and Mellow Yellow (album)
  108. ↑ Gordon Giltrap's website. Retrieved 18 February 2010.
  109. ↑ [Brighton Magazine, 13 March 2006. Retrieved 15 April 2010
  110. ↑ Biography of Imahori at Last fm]. Retrieved 21 February 2010.

Bibliography

External links

Interview links

Bert Jansch
Studio albums
Bert Jansch (1965) • It Don't Bother Me (1965) • Jack Orion (1966) • Bert And John (1966) • Nicola (1967) • Birthday Blues (1969) • Rosemary Lane (1971) • Moonshine (1973) • L.A. Turnaround (1974) • Santa Barbara Honeymoon (1975) • A Rare Conundrum (1977) • Avocet (1979) • Thirteen Down (1980) • Heartbreak (1982) • From The Outside (1985) • Leather Launderette (1989) • Sketches (1990) • The Ornament Tree (1990) • When The Circus Comes To Town (1995) • Toy Balloon (1998) • Crimson Moon (2000) • Edge of a Dream (2002) • The Black Swan (2006)
Live albums
Bert Jansch Live at La Foret (1980) • BBC Radio 1 Live in Concert (1993) • Live At The 12 Bar: An Authorised Bootleg (1996) • Young Man Blues (1998) • Downunder: Live In Australia (2001) • The River Ressions (2004) • Fresh As a Sweet Sunday Morning (2007)
Compilation albums
Lucky Thirteen (1966) • Bert Jansch: The Bert Jansch Sampler (1969) • Box Of Love: The Bert Jansch Sampler Volume 2 (1972) • Strolling Down The Highway (1986) • The Gardener: Essential Bert Jansch (1992) • Three Chord Trick (1993) • Blackwater Side (1997) • Dazzling Stranger: The Bert Jansch Anthology (2000)