British guitar legend Bert Jansch has done far more constructive work (and certainly less damage) regarding authentic roots music than his fellow countryman Eric Clapton has, but tragically Jansch's works go relatively unnoticed, except for a fraction of the guitar-appreciating populace. Hopefully, Castle Music's anthology Dazzling Stranger can help to change that fact. Forty-two songs spread over two CDs tell the folk guitarist's story in chronological order from his Transatlantic recordings in 1964 through his home recordings in 2000, with an emphasis on his late-'60s and early-'70s works.
Bert Jansch was 52 when this CD came out in 1995, and at that point, he was revered as an elder statesman of the British folk community (although the veteran singer/songwriter is actually Scottish, not English). Jansch's brooding, introspective, bluesy style of folk-rock had not grown stale over the years – When The Circus Comes To Town, in fact, is the work of an artist who was having no problem maintaining either his vitality or his charisma. …
The liner notes of this first time CD edition of two mid-80's vinyl albums from folk vocalist Loren Auerbach explain how this memorable collaboration with Bert Jansch led on a winding path through the intervening years to recent marriage. One can hear sparks of muses co-mingling betwixt the Icelandic poetry graduate student-turned-unsteady-vocalist and the diving swallow grace notes of Jansch's steelstring guitar…
Collection includes 19 albums by British folk-rock legend Bert Jansch.
Sanctuary's mammoth triple-disc Pentangle overview poses a bit of a dilemma. First of all, it's called Pentangling, which is already the name of a 1973 compilation, and secondly, while not deliberately misleading, it focuses more attention on the solo careers of John Renbourn and Bert Jansch than it does on the entity that supplies the collection's title. Despite these petty gripes, Pentangling is filled to the brim with some of the finest recordings the British folk movement had to offer, and hearing the group as a whole, followed by an entire disc – one apiece – of two of the genre's most gifted guitarists, is rewarding in more ways than one: both men, as well as the band, released material well into the 21st century, but Pentangling focuses only on their treasured late-'60s/early-'70s output.
The Black Swan is the twenty third album by Scottish folk singer Bert Jansch. It was released in 2006. Jansch described the album: "It's been fantastic working with everyone who's been involved on the record. They all came to it from a standpoint of being fans of my music, so while there are lots of great musicians making wonderful contributions to the record it still has a very acoustic, intimate feel – and there's still a lot of me on there!"
Bert Jansch was 60 years old and celebrating the 35th anniversary of his first album when Crimson Moon was released in 2000, and although many critics termed it a comeback set, it was essentially Jansch doing what he has been doing all along, with a few embellishments. Like every other Jansch album, Crimson Moon centers around his amazing acoustic guitar playing and his limited, but disarmingly natural and sincere sounding vocals
Although rated very highly by many Bert Jansch fans, Rosemary Lane isn't quite as striking as his best albums of the '60s. It's more of a delivery of all the attributes listeners had come to expect of him by 1971 – excellent acoustic guitar work, imaginative interpretations of traditional material and well-constructed originals in the same vein, and committed vocals – than a step forward, or even sideways. It's perhaps one of his more low-key efforts, both in the sparse arrangements and the subdued tone. It's certainly a worthy effort on its own terms, even if it's largely a restatement of already visited themes.