Coventry Music Articles by Pete Clemons: Bert Jansch 1966

Bert Jansch 1966

by Pete Clemons

March 1966 saw Bert Jansch will be playing at a local folk club in Coventry. It was described as an 'event not to be missed. If you happen to go, you will see a very nervous young man, who manages to transform his nervous energy into some of the best guitar-playing in the country. Most of the songs he sings are his own compositions'.

They combine the good simplicity of traditional folk music, (such as that of the singing of Anne Briggs, heard at the Folk Club earlier this term), with an amazing guitar technique, which he says is wholly American. Although he is only 22, Bert Jansch has already made two L.P's, ('Bert Jansch' and 'It Don't Bother Me': issued by Transatlantic Records), and is becoming increasingly popular all over the country.

Bert had recently given up residencies at Les Cousins and Scots Hoose in order to tour other areas. He says he will probably take up another residency: 'All my friends are in London - and I play first of all for my friends'. He also plays because he must. 'If I had no money, I'd be a bum-but playing the guitar. And money-well, I've never had any-you see money just doesn't mean anything to me. If I'd been brought up with money, then I reckon I'd need it. But I've never had any, so it just doesn't worry me'.

His words reflected his indifference to many things. He claims the audience hardly matters 'If they're too intent, they frighten me, but I like them to be interested - I can't stand it when they're not'.

Bert's claim to indifference was probably wishful thinking, for being so nervous, he senses atmosphere instantly. If people talk, he asks them to shut up, or cups his hand to his ear as if to listen to them! If they give no response to his work, he makes remarks like 'This song is about dreams, so the words don't mean anything - at least not to you. But then I doubt if any of the words mean anything to you'.

The words of his songs are often missed, partly because of the brilliance of the music, which always dominates a song - "I am more a guitarist than a song-writer: the words aren't important" - and partly because his voice, although full of feeling, lacks clear diction. But the effort of listening to the words is rewarding.

Bert's images are strange and poetical 'Your love was like a child upon a rocking-horse, the colour black, who rides through a forest of dreams, and laughs at evils that cannot be seen. Yet like the ageing of a child at play, your love is broken and fades away'.

His songs are wistful and mostly deal with the sorrows of love, (and occasionally its pleasures), but there are also songs about social issues 'Do you hear me now?' and his instrumentals cover a wide variety of sounds.

One of his songs, 'Needle of Death', is a great favourite around the clubs and more frequently requested than anything else, except Davy Graham's 'Angie'. It deals with the death of a drug-addict 'Your troubled young life had made you turn to the needle of death', but at times it verges on sentimentality, which probably accounts for its popularity!

Bert gets excited, talking about various types of music. He says 'Don't try to differentiate between types of music'.

The artists he admires are: 'John Renbourne, full stop.... After that, a long way behind, come a lot more, but too many to name'.

On the new John Renbourne L.P., released by Transatlantic, they work together on two amazing guitar improvisations.

He wants to be able to go on developing in the field in which he has made his name: 'I will never be a great composer, but then I can't see myself singing like Elvis Presley either!'

His roots are deep in traditional music, and he says 'The best music is of the people, from the people, not from a few great men', but he sees the various categories into which people put music as moving closer together. 'It's my opinion that they'll invent more categories-they've already begun with 'Popular Classics' and 'Popular Folk Music'.

Bert Jansch is one of the people playing today, who is helping to combine the forms of music. His background is that of traditional folk music, but to this he brings guitar-playing of an extremely high musical standard and a gift for using words in an exciting way.

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Bert Jansch formed the Bert Jansch Conundrum in the late 1970s as a touring unit for his solo performances following the breakup of the original Pentangle.

Another Coventry connection is an album titled Avocet. Released in 1979, this was Bert Jansch's twelfth solo album. It was also said that it was his favourite. Avocet is instrumental, concentrating on Jansch’s celebrated guitar work, free and clear of vocals. There are six tracks, each named after a sea or wading bird. That was until an expanded 40th anniversary version was released more recently. There were three people involved in the recording, Jansch on guitar and piano, Danny Thompson on bass and Coventry's Martin Jenkins (Ex Dando Shaft) on the wonderfully named mandocello, flute and violin. And those others do a sterling job of supporting him, working together well, knowing instinctively what is required at any given moment. There is not a note out of place.

Trev Teasdel saw the duo at the Fletch in Coventry c 1981 - he knew Martin from Dando Shaft days and said it was great to see the pair play together live - musical sparks were flying between them - their styles complimented each other.

Angie - Bert Jansch