Christmas Posts 2019 part 1

This is a repeat of a post I did last year. Having picked up a copy of his fabulous 1978 Avocet album (on vinyl, obvs) this afternoon, it seemed only fitting to repost this. In the coming weeks I will post albums and tracks of the year. I know some people are posting albums and tracks of the decade, I’m still trying to puzzle those out. Not because I haven’t heard lots of amazing stuff over the past decade, but because I’m overwhelmed by it all…

Bert Jansch is one of many folk artists that I’ve discovered over the past decade or so, along with Fairport Convention, John Martyn, Sandy Denny – and of course, Richard Thompson. His version of Christina Rosetti’s poem ‘In The Bleak Midwinter’ is gorgeous. It can be found on his 1974 album LA Turnaround.

It was originally set to music written by Gustav Holst; and the setting by Harold Darke a few years later in 1911 was judged the best carol in 2008. The Darke setting below is performed by King’s College, Cambridge. Funnily enough, while I’m not religious, there is still something incredibly Christmassy to these ears about hearing the Christmas Eve services – and as much a part of Christmas to me as offerings from the Pogues, Slade and Frightened Rabbit. Similarly, I do like the sound of a Salvation Army band playing carols, it’s part of the ambience I associate with Christmas.

Christmas Posts 2018 #6

Bert Jansch is one of many folk artists that I’ve discovered over the past decade or so, along with Fairport Convention, John Martyn, Sandy Denny – and of course, Richard Thompson. His version of Christina Rosetti’s poem ‘In The Bleak Midwinter’ is gorgeous. It can be found on his 1974 album LA Turnaround.

It was originally set to music written by Gustav Holst; and the setting by Harold Darke a few years later in 1911 was judged the best carol in 2008. The Darke setting below is performed by King’s College, Cambridge. Funnily enough, while I’m not religious, there is still something incredibly Christmassy to these ears about hearing the Christmas Eve services – and as much a part of Christmas to me as offerings from the Pogues, Slade and Frightened Rabbit.

Album Review – Bert Jansch

Bert Jansch – Just A Simple Soul (BMG)

Just a simple soul, perhaps, but what a guitarist.

Whilst there have been a number of Bert Jansch compilations over the years, Just A Simple Soul is significant for covering Jansch’s career over five decades. (It focuses on the solo years, rather than the Pentangle releases.) It has been assembled by Jansch’s estate and Bernard Butler, one-time Suede guitarist and David McAlmont collaborator. Butler knew Jansch well and he contributes the liner notes here.

There’s no doubt that the legendary Scot had a good voice – but it was his spectacular skill as a guitarist that he will be most remembered for. This compilation brings together 39 tracks, presented here in chronological order. His debut self-titled album (sometimes referred to as the  ‘Blue Album’) has three tracks here, including the instrumental ‘Angie’ and the harrowing ‘Needle Of Death.’ No prizes for guessing that the latter is about heroin – it concerns a folk singer friend of his called Buck Polly who died of an overdose. It’s one of his best-known songs – the darkness within is echoed in tracks like Nick Drake (one of many who claimed Jansch as an influence) and Drake’s song ‘Black Eyed Dog.’

The 1960s were a prolific period for Jansch, producing six albums between his debut and 1969, by which time he had formed the legendary Pentangle. There’s a number of highlights from this period, but amongst them are the instrumentals ‘Angie’ and ‘The Waggoner’s Lad’ as well as the eco-warning ‘Poison.’

The seventies and eighties were a more difficult time for Jansch, but not without their musical highlights. The first part of this set finishes with a stunning duet with Mary Hopkin (one of the great, lost voices) on a cover of Ewan MacColl’s ‘The First Time I Ever Saw Your Face.’ Sure, it’s been covered by everyone from Roberta Flack to Johnny Cash to George Michael, but it’s a testament to Jansch and Hopkin’s skill that their version holds its own. 1974’s L.A. Turnaround was his first album after the Pentangle split, featuring another stunning instrumental ‘Chambertin’ and that album’s opener ‘Fresh As A Sweet Sunday Morning’ which truly earns (and owns) the title. Towards the end of the decade, with punk having swept away much of what had been held sacred, a concept album about birds may have been the most out of time release possible for 1979, but Avocet is brilliant. It’s represented here by ‘Kittiwake.’ (I might personally have substituted it for the title track but a seventeen minute composition is something you should make the time to investigate.)

Jansch’s influence cannot be underestimated, even if it took until the 1990s for the respect he was so clearly due to truly arrive. He had a run of highly regarded albums in his last decade of making music, among them 2000’s Crimson Moon, 2002’s Edge Of A Dream and 2006’s The Black Swan, all represented here. His collaborators included – in addition to Butler – the likes of Hope Sandoval, Devendra Banhart and Beth Orton, and he even found time to play with Pete Doherty.

Given that licensing restrictions can often make albums such as these difficult (as many artists are signed to different labels over the course of their careers), it’s great that this exists, as a fantastic introduction to Jansch and also showing just how consistently brilliant he was. When he died in 2011 he had influenced a whole range of musicians, including the likes of Jimmy Page, Fleet Foxes and Roy Harper. Listening to this compilation reminds me just how brilliant many of those studio albums are. His work remains compelling and vital.

****

Just A Simple Soul is out now on BMG