Wednesday, 5 October 2011
When you're talking influences and strands running through genres it's easy to skip past the largely forgotten yet extremely influential artists 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.
Jansch influenced plenty of others along the way, including Johnny Marr from the Smiths, the Incredible String Band's Robin Williamson (a former housemate), 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 before he started writing his own material, influenced by Graham's eclecticism and moving away from 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 made necessary 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 delivering 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 the kitchen of his flat 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 groundbreaking folk supergroup Pentangle (with Jacqui McShee on vocals, bass player extraordinaire Danny Thompson and percussionist Terry Cox), an outfit that achieved considerable 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.