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John RenbournRare

Performances1965-1995

John RenbournRarePerformances1965-1995

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J OHN R ENBOURN

R ARE P ERFORMANCES 1965-1995

The 30 years of performances seen in this video re- veal the unfolding musical odyssey of one of the guitar’sgreat focused eclectics, an artist who brings a distinctiveand personal perspective to everything from medievalmodal compositions to Celtic folk songs to American bluesand jazz to the work of Africa’s Abdullah Ibrahim (DollarBrand). Given the far-flung places the guitar has takenhim, it’s a mite ironic that John Renbourn cites the so-called‘King of the Cowboys’ as his first inspiration. “Roy Rogers

was, of course, very popular,” Renbourn said of his child-hood in 1950s London in conversation with Guitar Player’s

Jas Obrecht. “He could shoot Indians out of trees, and thatsort of thing. My first guitar was called a Wonder guitar, apink steel-string; it went with my Roy Rogers outfit.”

It takes some imagining to picture Renbourn, whoseuniform has always been art school anti-dress, in a pink cowboy outfit with matching guitar! However, perhaps thesame allure which drew him at age 13 to the Americancowboy myth and “Happy Trails” would later lead him tothe music of medieval Europe and related modal folk mu-sic. His companion in his myriad explorations would be-come his unique voice – a Wonder guitar indeed.

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Renbourn was born in Kingston, South London, 1944.“My mum used to play piano and I did music when I wasin school,” he told Goldmine’s Kenneth Romanowski. “I hadto have an instrument to do music study so I took classical

guitar (at age 15) and right about that time the folk thing was just starting. I went to hear Josh White and some of the American guys that were coming over in the 1950s andI liked them a lot.”

Prior to his two years of classical guitar lessons atGeorge Abbot School in Guildford, Renbourn (along withevery other kid in Britain) was swept up in the ‘skiffle’ crazeepitomized by Lonnie Donegan’s 1956 international hit ver-sion of Leadbelly’s “Rock Island Line.” Inspired equally by Donegan’s enthusiasm and Rogers’ heroism, Renbourn andhis Wonder guitar struggled with “a plectrum and that oneG chord where you put your fingers down like in the pho-tos,” he told Dan Forte. (Renbourn recalls a book calledHow to Play Folk Guitar by Rory McKuen as reference forhis early groping.) “This was really before there were many records available of good players,” he recalled. “ThenRamblin’ Jack Elliot and Derroll Adams came over andplayed in England and Europe, and they left in their wakea bunch of people in cowboy hats learning to fingerpick.And it was people like that who I learned from; I learned‘San Francisco Bay Blues’ and ‘Cocaine Blues.’”

Renbourn summed up the importance of these early experiences to Guitar Player’s Obrecht: “What technique Ihave got is based mainly on the combination of trying toplay folk stuff early on – like Big Bill Broonzy things – andthe couple of years classical playing I did.” The formal train-ing, Renbourn told Forte, freed him to play his own way.“It was during that couple of years of classical training thatI became able to do picking things,” he recalled. “Just thebasic limbering up exercises and using three fingers andplaying arpeggios – the basic first stages of classical train-ing. I didn’t go any further than that, really, but it wasenough to get me involved in playing fingerstyle folk.”

By 1962, Renbourn was enrolled in Kingston Art School, where his classmates included Sandy Denny and EricClapton. “Art school, “ Renbourn told Romanowski, “equips

you to do nothing whatsoever in the world.” However, he

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told Acoustic Guitar’s Doc Rossi, it at least provided a safehaven for woodshedding. “I did a lot of guitar playing whenI was at art school supposedly painting,” Renbourn recalled.“But I’m pretty sure that the kind of approach that I learnedat the art school helped my approach to music, because it

was a step away from the academic way of looking at mu-sic. And if you apply the way you might think if you werepainting or drawing to when you are making music, then itreally opens up another way. If you think of all the musi-cians that came out of art school compared to the numberof artists – especially from the 1960s – it’s astounding.”

During his short-lived art student era Renbourn, hav-ing borrowed an electric guitar, played in an R&B band,Hogsnort Rupert and His Famous Porkestra, doing Jimmy Reed covers. “I really used to like playing in the bluesbands,” Renbourn told Obrecht, “but the finances were very difficult – it was a lot easier to look after yourself and justplay the guitar.” A halfhearted art student, Renbourn wassoloing in clubs around Kingston before he quit school en-tirely and immersed himself in London’s diverse musicscene. That’s where he first saw guitarist Davey Graham,

who Renbourn calls “the first great fusionist,” playing in anearly incarnation of the John Mayall Band, and Bert Janschin the unlikely role of sole accompanist to harmonica leg-end Little Walter Jacobs. With singer-guitarist Alexis Korneras catalyst, American electric blues had become London’s

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new skiffle, and bands like the Yardbirds and Rolling Stones were on the rise. By contrast, London’s folk scene of thetime was dominated by the cupped-ear school of a Capellasingers who frowned on the guitar as a popular intrusion

into a pure folk tradition. “In those days,” Renbourn toldRomanowski, “it was considered a very bad thing to use aguitar at all. Then a sort of weak approach came in; they said, ‘It’s OK to use a guitar provided it’s unobtrusive.’ So

you had people playing these absolutely useless accom-paniments...” Somewhere between the lads trying ear-nestly to sound like Muddy Waters and those emulatingPercy Grainger’s field recordings were a few who, inspiredby Graham, sought to invest the traditional with new ideasof their own.

“When I first heard Bert Jansch,” Renbourn recalled toStefan Grossman, “I just couldn’t figure out what on earthhe was doing....I didn’t recognize the shapes. I liked it, butit was something I’d never seen before.” He was, he toldDan Forte, “astounded” by Jansch: “I had never heard gui-tar playing as good as that before,” he told Obrecht. Jan-sch, born in Glasgow, 1943, had taken guitar lessons inEdinburgh from Jill Doyle, Davey Graham’s sister. On the

way back from a trek to Morocco in 1962, he stopped inLondon and discovered the folk scene there. “After that,”

Jansch recalled in 1979, “it was just a question of commut-ing between Scotland and London.” The appearance as ac-companist to Little Walter (Jansch was a last-minute re-placement for a missing guitarist) which provided

John Renbourn & Bert Jansch Photo by Brian Shuel

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Renbourn his introduction to Jansch was “quite funny,” Jansch said, “because my blues playing must have been sostrange to Little Walter. It was just the two of us, and he

was trying to get me to play simple as possible; and of

course, I tend to play quite a few lines all at the same time.He was slightly thrown.” As was Renbourn, but in a posi-tive way.

In 1964, the two began playing together informally ata Soho club called the Cousins and soon Renbourn, in needof a place to stay, moved in with Jansch. “I don’t know if Iinfluenced Bert very much,” Renbourn told Obrecht, “but Icertainly got a lot from his playing... I think Bert was prob-ably one of the first people who were playing creative mu-sic on the acoustic guitar; although it was drawn from good

traditional sources, it was, nevertheless, a music of his own.I found it interesting to try and work parts out with Bert...”And the two were closely kindred spirits musically. “I foundit very easy to make music with Bert,” Renbourn told Gross-man. “He’s so easygoing when he’s putting some musictogether that it’s very enjoyable. We also found that we’dfrequently have bits of tunes that would, for some strangecoincidence, be in harmony, or that two instrumental tunes

would actually fit, or we’d have sections that would be-come parts of the same tune. That’s more or less the way the Bert & John album came about.”

A cult favorite,Bert & John followed hard on the heelsof debut solo albums by both Jansch and Renbourn in 1965.“The cooperative venture consolidated their partnership,”

wrote R.J. Bater (“Folk Guitar in Britain: an Individual As-sessment,” Guitar Player December 1971). “The music onBert & John was the expression of a composite talent un-equaled, in my opinion, in the whole of the 1960s in any field of music. The degree of rapport established betweenthese two stylistically individual musicians was frighteningand the wealth of musical ideas condensed into the record,staggering. There were jazz numbers, blues, contemporary folk and a medieval-tinged tune, the presence of each dif-ferent type not incongruous in the least, for all were unitedin a musical idiom which had its roots in any one or in any combination of these four traditions. Essentially, each piece

was based on a theme which was taken up by the two

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guitars and molded into a two-part polyphony, the individual treatments contrasting in their rhythmic and melodiccharacteristics according to the different backgrounds of the two players. The two melodic strains here blended,there entwined, only to separate once more to reasserttheir differences. The whole record pulsated with creativeenergy – and the instrumental medium was the acousticguitar.”

For all the critical rhapsodizing it inspired, Bert & John was cut under primitive conditions. “(Producer) Bill Leaderused to come and set his gear up in the kitchen,” Janschrecalled, “get all the leads into the hallway, and put blan-kets up over the windows. We even had to invite the neigh-bors down from upstairs to stop ‘em from making noise.Give ‘em a few beers and sit ‘em in the kitchen.”

Jansch and Renbourn, both soloists at heart, saw thattheir duets were well-received, and began mulling over thepossibility of expanding further. “When the Cousins startedto fade as a club,” Jansch recalled, “John and I decided weought to try to put a band together, because at that pointthere weren’t any bands...with a folk-based influence. Johnhad done a TV show called Gadzooks, It’s All Happening,

which was a stupid folk program, and he had met (bassist)Danny Thompson on that show. And of course John and

Jacqui (McShee) had been singing together for years, do-ing gigs together. So we decided we’d start this (folk) clubup (at London’s Horseshoes pub, Court Road), and we’d

B e r t J a n s c h & J o h n R e n b o u r n P h o t o b y B r i a n S h u e l

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invite Danny and Jacqui along to see how they fancied it.Danny used to be resident player at Ronnie Scott’s place;he used to back the visiting American jazz stars, and (drum-mer) Terry Cox used to play with him. So Danny brought

Terry along one day, and there you had the Pentangle.”Renbourn described Pentangle’s genesis slightly dif-

ferently to Romanowski: “Alexis (Korner) would sometimescome down and play at the Cousins with Danny Thomp-son and Terry Cox,” he recalled. “So we stole them away from him.... I used to live in the same place as Bert, and

we would always rehearse. The music actually evolved outof the fact that we used to play together nearly all day long. And then we’d go down to Cousins and try it out

with Danny and Terry and Jacqui McShee, who I used to work with anyway, so we had a loose five-piece group thatused to play in this club.”

Pentangle debuted in the Fall of 1967 at the Horse-shoes, appearing on Sunday evenings. By early 1968, thepub was routinely packed whenever they performed. TheHorseshoes could not contain the group once its debutalbum, The Pentangle , was released in the Spring. TheSummer found the quintet performing at prestigious mu-sic festivals in Cambridge and Edinburgh and at London’sRoyal Festival Hall. By Fall, Pentangle had launched a full-

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fledged tour of the U.K. to coincide with the release of itssecond album, Sweet Child . The appearance of two al-bums within six months of one another speaks well bothfor the creative energy of the band and for its popularity.

Pentangle quickly developed a devoted cult following onboth sides of the Atlantic for a kind of contemporary cham-ber music which tastefully blended disparate musicalstreams. But for Jansch anyway, they were a folk group atthe core. “We were the very first actual group in what wethought was the folk idiom,” he said. “The jazz influencecame from Terry and Danny. We never quite got into therock thing. And the string bass made a difference – theelectric bass came in the Fairport Convention and SteeleyeSpan era, which was just a little bit later. I think that’s what

made the difference in sound between us and those bands.We used to be known as the quietest band on the stageand the loudest off the stage.”

The group recorded six albums and lasted nearly asmany years, disbanding in 1973. “We’d all had enough by then,” Jansch recalled. “We were all working too hard. Wehad gone around the world about five times; it was liter-ally like three-month tours at a stretch; then a week off and another two-month tour somewhere else. Also, themanager at that time had a policy of sending us out by ourselves to do two-hour shows. We never met any othermusicians, because there was nobody else on the bill. Itbecame so insular, and you do need to play with otherpeople and meet other people. I think that was one of themain reasons for the band to fold.”

Renbourn shares Jansch’s jaundiced view of Pentangle’stours. “We used to do a lot of enormous tours,” he toldForte, “mostly of ridiculous, huge venues...The first timeover (1969), we did Fillmore East with Canned Heat andRhinoceros. Can you imagine that?” But he feels the band’sdemise was less about insularity than diffusion. “We hardly ever saw each other when we finished a tour,” he toldRomanowski. “We just went to our separate houses and it

just disintegrated in the end. Whatever had been really closebecame quite fragmented.”

The disbanding of Pentangle left in its wake unfulfilledcontracts which made resuming a solo career initially diffi-

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cult for Ren-bourn. “It was a nightmare,” he told Option’sDorian Cohen. “I couldn’t record for a long time.”

“After Pentangle,” Renbourn reflected to Jas Obrecht,“I wasn’t really doing very much.” Slowly, that changed, and

by 1979, informal music-making with friends had led tothe birth of the John Renbourn Group. Tony Roberts, whohad played flute on Renbourn’s The Lady and the Unicornalbum in 1969, renewed a musical partnership with Ren-bourn when they became neighbors in Devonshire. “We

started working to-gether,” he toldObrecht, “and Jacquistarted singing. Wegot a small band to-

gether – a ‘socialband’ – and recorded A Maid in Bedlam for Transatlantic.” In sun-dry incarnations the

John Renbourn Groupprovided a focal pointfor Renbourn’s musicbetween 1979 and1983.

Another significantpartnership emergedfor Renbourn in thelate 1970s. Friendssince 1967, he and

Stefan Grossman made the first of several albums togetherin 1978. “Recording with him was a little like working outtunes as I would with Bert,” Renbourn told Obrecht. Of Renbourn, Grossman said: “His playing is very English andmine is very American. I have a more rhythmic approach,and John’s is more melodic. We’re learning from each other,and that’s important if you’re going to continue to grow.”

Around 1982, Renbourn enrolled in Dartington Col-lege of Art where the 1960s art school dropout belatedly earned a general music degree. Renbourn’s return to schoolas he neared 40 was prompted by meeting students fromthe nearby college who would tell him he’d influenced them

John Renbourn Group

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musically. “Some lute player would say, ‘How funny it is tomeet you, because you started me off playing the lute,’’Renbourn told Grossman. “I became quite jealous of thisand decided that I should go there and see what was go-

ing on at the college.” In time, Renbourn not only earned adegree but became a tutor at Dartington, a commitment which has made his tours over the past decade infrequentaffairs.

Juggling an academic career with the itinerantmusician’s life has presented Renbourn some unique pre-dicaments. “I had an offer to go on tour with Doc Watsonand play at Carnegie Hall,” Renbourn told Rossi. “Then Igot the dates for my second-year exams, which are theheavy ones...and it was on the day I was playing Carnegie

Hall. So I had to go to the principal and say, ‘Look, I’veactually got a booking.’ So he said, ‘Well, I’m afraid this isa very important exam. Cancel it.’ So I said, ‘It’s CarnegieHall.’ He said, ‘It’s never happened in the history of thecollege before.’ They had a special meeting and of coursesaid, ‘Do it and do the exams later,’ which was nice of them.”

At Dartington College of Art, Renbourn is an instru-mental tutor who gives his students both technical andhistorical grounding. He likes to lead them to the well-springs which initially inspired him, even if some follow

with less than wholehearted enthusiasm. “Some peoplefind listening to Elizabeth Cotten a personal effrontery,”

Stefan Grossman & John Renbourn Photo by Jo Ayres

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says Renbourn. But the tradition of 19th century ‘parlorguitar’ of which Cotten (1893-1987) was an exemplary folk exponent fascinates Renbourn. “Originally I was in-trigued to find out where the blues and country

fingerpicking styles came from,” Renbourn said of this pas-sion to Rossi. “And when you find this parlor stuff, you findthat a lot of it was in open tunings, the same open tuningsthat the blues guys are supposed to have invented. Thetwo main names for the tunings in the folk tradition are‘Spanish,’ for open G (D G D G B D) and ‘Vestapol,’ foropen D (D A D F# A D). Well, the two most popular parlortunes of all time are ‘Spanish Fandango’ in open G and‘Sebastapol’ in open D. These were like set pieces, and if

you listen to the blues stuff, the chord shapes are pretty

much the same...”Renbourn’s scholarly sleuthing led him to explore thetechnique as well as the repertoire of ‘parlor guitar.’ “If youthink about guitar playing in America in the 1800s,”Renbourn told Guitar International’s George Clinton, “therepertoire and the technique would have been the sameas in Europe. That is, with one or two fingers resting onthe soundboard. Often no nails – remember the Sor-Aguado business of whether to use nails? Also, in Americaorthodox technique required the left hand thumb to goround the neck to make the bar.” (Such orthodoxy wasput to good use in the bass lines of Merle Travis, who lik-ened his left hand technique to “grabbing the neck of ahoe handle.”) Renbourn credits the popularization of steelstrings, which offered improved intonation over gut, along

with the advent of mass-produced mail order guitars inthe late 19th century, with ‘liberating’ the guitar from theparlor. But its legacy followed the instrument out into thefolk realm, where parlor tradition would be variously trans-formed into blues and country guitar styles featuring opentunings and sprightly bass-treble counterpoint. “If you look at this stuff,” Renbourn explained to Rossi, “often it’s got aregular bass pattern, and if you do play it in this style, youget picking! So it’s all there, really. Folklorists don’t really like this stuff because it sounds so artsy or like a bad parody of classical stuff, and classical people aren’t interested in itbecause it’s so banal-sounding.”

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Therein, perhaps, lies a clue to Renbourn’s attraction:this music, whatever its flaws, defies neat categories andeasy assumptions, not unlike Renbourn’s own music.Whether drawing from sources medieval or modern,

Renbourn has always been gently but insistently iconoclas-tic. By example he’s asked, ‘Why not play a 14th century dance tune on a 20th century steel string guitar? Why not play a Thelonious Monk bop blues as well?’ Or, in responseto British folk purists, ‘Why not use the guitar to accom-pany a traditional ballad?’ Today these questions need ask-ing only rhetorically if at all, but such was not the case 30

years ago. The fact that Renbourn asked and then posedconvincing answers to them opened doors for a host of further explorations of the steel string guitar’s potential over

the past quarter-plus century. Whether Renbourn ever per-forms or records any of the fingerstyle Victoriana to whichhis scholarly curiosity has led him, one can’t help suspect-ing that he identifies with this music’s role as a sometimes-unacknowledged catalyst. Responding to an interviewer’sobservation that his music of the 1960s influenced the NewAge guitarists of the 1980s, Renbourn said simply: “That’sinteresting. I like the idea that it’s gone somewhere.” Andhe obviously likes the idea that the medium he’s chosenfor its delivery is equal to any message. “There’s no limit,”Renbourn once declared, “to what you can do on the steelstring guitar. It’s just a matter of adapting in it.”

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The Performances

This collection begins in the black-and-white year of 1965. It was a time when the folk and pop music worlds

would collide in the ‘Dylan-goes-electric’ controversy, one which led to the emergence of a ‘folk-rock’ hybrid and thedisplacement of the coffeehouse by the discotheque. Sothe first of two 1965 Danish television clips brings with it acharming early-1960s earnestness, a reminder of the re-flective coffeehouse Soho scene from which Renbourncame. We see a 21-year-old Renbourn looking every bitthe consummate art school dropout, his distinctive neo-classical style already fully developed in the year of his firstalbum, which he cut in a basement studio in London’s Den-mark Street. The song, “I Know My Rider,” was a popularfolk-blues of the era (the Byrds recorded a version of it in1966). The following cinema verite clip (shot over a boredblonde’s shoulder and reminiscent in feel of Dylan’s Bring-

ing It All Back Home Lp cover) shows Jansch and Renbournat home (“Bert & John”) doing what they did best. (NoteRenbourn’s sitar in a corner.)

The excitement generated by Pentangle’s uniquesound is captured near the quintet’s inception in two BBC( Degrees of Folk ) performances from 1968. “Traveling Song”

was actually a single, released in May 1968. “Let No Man

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Steal Your Thyme,” with its spacey free improvisation overthe 1 chord in the solo, was one of the standouts of thegroup’s debut album, The Pentangle, which drew a ravereview in the October 26, 1968 Rolling Stone: “It’s refresh-

ing to hear the clean sound of this album,” wrote FredDente, “not cluttered by powerful amps...One can feel acloseness to the instruments that, heretofore, was a hardtask in the pop music field. It is one of the best albumsone will ever hear.”

Renbourn began his Pentangle stint playing a Gibson J-50 flattop acoustic, then switched to the Gibson ES-335seen in the 1971 BBC concert clip of “In Time,” a perfor-mance which epitomizes the blues-rooted string jazz as-pect of Pentangle’s repertoire.

If the 1973 breakup of Pentangle (and ensuing legal wrangles) kept Renbourn from recording for a time, he wasnonetheless still performing, as witnessed by two 1974 BBCclips. “Blues in A” finds him returning to the idiom whichfirst drove him to explore fingerstyle guitar. At the core of Renbourn’s signature embellishments are lines strongly reminiscent of the single greatest early influence on a gen-eration of English guitarists, from Martin Carthy to EricClapton, Big Bill Broonzy. “I still adore his playing,”Renbourn told Doc Rossi in 1994.

“Rosslyn” is something else entirely. The hammer-onsand pull-offs connect it to blues and American folk guitarpractice in general, but its more impressionistic structurepoints to Renbourn’s influence on similar creations a few

years later by French wunderkind Pierre Bensusan. “JohnRenbourn was the first English guitarist I listened to,”Bensusan said in 1979, “he and Bert Jansch of Pentangle.It gave me a lot of inspiration.”

For his part, Renbourn often looked for inspiration tomusic of the pre-industrial past. “The interest in early mu-sic was something I’d always had,” he told Grossman, trac-ing it to his teenaged classical guitar experience. WhenRenbourn began exploring the Anglo-Celtic folk tradition,he discovered similarities. “I started to realize that a lot of the pre-Renaissance music used the same modal scales,”he told Obrecht. “You can play early music on the steel-string guitar,” Renbourn explained to Guitar International’s

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George Clinton, “naturally, since many old instruments weremade with wire anyway.” Renbourn was already exploringthis repertoire in the 1960s, both in Pentangle and onsuch solo albums as 1968’s Sir John Alot of...An excellentexample of his approach to it is seen in the medley (per-formed in Milan at Il Lirico in 1977) of “Trotto/EnglishDance.” The first tune, fitting for the performance venue, isof Italian origin. “The Trotto is one of a series of lively Ital-ian dances preserved in a manuscript in the British Mu-seum,” writes Stanley Buetens in the liner notes to In a

Medieval Garden (Nonesuch H-1120). “Little is knownabout the Trotto and there are few references to it else-

where. It is obvious from the music, however, that it wasto be played and danced fast and furiously.” The same couldalso be said of “The English Dance” which follows it.Renbourn has remarked that one advantage of playing early music is that the composers can’t dispute your interpreta-tion of their tunes. “I don’t play them anywhere near asauthentically as I should do,” he told Bob Emerson.

“Whitehouse Blues” is an original interpretation of asong from the ‘hillbilly’ stringband tradition: Charlie Poole& the North Carolina Ramblers did it in the 1920s, and it’ssince become a bluegrass standard. Usually delivered in arollicking manner at odds with its theme (the 1901 assas-sination of President William McKinley by anarchist Leon

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Czolgosz), Renbourn darkens it to a lament slightly akin toDoc Watson’s fingerstyle interpretation of “St. James Hos-pital” on his debut Vanguard album.

The two 1981 performances here of the John Renbourn

Group suggest its leader was then deeply involved withAnglo-European tradition, a contrast to the American-in-fluenced eclecticism of Pentangle. “The Fair Flower of Northumberland” is one of the traditional ‘border ballads,’

while the medley, “Pavane/Tourdion,” reflects Renbourn’sexplorations of early music. Renbourn felt he could bestdo such work in ensembles, he told Grossman, “becausethings had got to the point where my guitar playing hadbecome so elaborate that it became difficult to play all theideas on one instrument.” Along with Jacqui McShee,Renbourn’s group here is comprised of Tony Roberts on allthe reed instruments, John Molineux on fiddle and dulci-mer and Keshaz Sathe on tablas.

The late 1970s teaming of Renbourn with Stefan Gross-man was a parallel development to the duets Renbournhad created with Jansch in the 1960s. And if the JohnRenbourn Group of the same era was rooted in Anglo-Celtictradition, Renbourn’s penchant for American music got tocome out and play with Grossman. The first example hereof their musical dialogue comes from 1982 and is the whim-sical “Candyman,” this version based on the one played by Rev. Gary Davis. Piedmont blues authority Bruce Bastin

writes: “This is an old tune, learned before World War Ifrom Will Bonds, a founder-member of the Greenville stringband in which Davis played.”

Grossman relates that their two duets on jazz stan-dards were the result of painstaking work. The source of this version of “Goodbye Porkpie Hat,” Charles Mingus’shomage to Lester Young, was Larry Coryell, who taughtGrossman the tune as Coryell learned it from Mingus.

Thelonious Monk’s “'Round Midnight,” seen in a 1988 per-formance in Sweden, was arranged by Renbourn, whoshowed Grossman his part as well.

Despite Renbourn’s academic commitments at theDartington College of Art, he was in Toronto in 1990, wherehe performed a lovely medley of hymns, “Abide With Me/ Great Dreams From Heaven,” the latter song known to gui-

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P h o t o b y S t e

f a n G r o s s m a n

tarists from the work of Bahamian Joseph Spence and hisadmirer, Ry Cooder. The rich chordal voicing in Renbourn’sarrangements reminds us that he had been studying or-chestration in college. “I think the most enjoyable approachto the guitar,” he told Grossman, “is to regard it, if you can,as something like a keyboard instrument, with the possi-bility of playing the separate parts...”

Blues-based music was never far from Renbourn’sreach. Booker T & the MG’s instrumental, “Sweet Potato,”had been in his repertoire since the 1960s, and we hear anice performance (a mite reminiscent in some respects of the opening one, “I Know My Rider”) from Northern Ire-land in 1992.

“Lord Franklin,” heard in a 1993 performance, is a bal-lad which chronicles the ill-fated 1845 expedition of Arcticexplorer Sir John Franklin in search of the Northwest Pas-sage. From the same session we also hear “Little Niles,” abluesy entry from the bag of jazz pianist Randy Weston.

This 30 year retrospective closes with examples of three very different sides of Renbourn captured in Berkeley, Cali-fornia at the Freight & Salvage in 1995. “Young Man WhoWouldn’t Sow Corn” is a traditional song built on a bluesy pentatonic minor scale, a familiar sound in ‘high lone-some’ Appalachian banjo-based songs (“Cluck Ol’ Hen,”

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“Shady Grove”). The medley, “The Lament of Owen RoeO’Neil/Mist Covered Mountains of Home,” finds Renbournexploring stately Celtic airs. “I reached a stage fairly early,”Renbourn told Dorian Cohen, “when I realized if I wanted

my music to sound good, I needed to draw on folk sourcesthat were closer to home – and, I suppose, closer to my own character.” Despite that implied rejection of non-En-glish elements in his music, this video closes with a med-ley from South African pianist Dollar Brand (AbdullahIbrahim). “The Wedding” is wistful, while “Cherry” suggestsa Renbourn expedition to a more balmy island than hisown, be it Caribbean or Hawaiian (some of his lines hintat the slack key style). This should come as little surprise,given Renbourn’s penchant for finding a Path Less Trav-

eled (such as 19th century American parlor guitar music)and making it his own. “Pretty well what happened to me,”Renbourn said of his involvement with the guitar to GeorgeClinton, “was that I heard this beautiful new sound andtried to play music on it. And from the beginning the way Iplayed was only the result of the music I was interested inand then adapted to the guitar...I’m not primarily a guitarplayer – I’m a guy that thinks in terms of musical ideas. Iplay the music simply because I’m interested in hearinghow it will sound.”

– Mark Humphrey P h o t o b y J o A y r e s

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& 22INTRO.

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V ESTAPOL 13032Running time: 90 minutes • B/W and Color

This 90 minute videocaptures thirty years of music by the brilliant

John Renbourn. I tfollows him from the

legendary London base-ment club ‘Les Cousins’to his work with Bert

Jansch and their groupPentangle to his trad-itional/medieval ad-

ventures with The JohnRenbourn Group and to hisduet performances withStefan Gross-man. As well asplaying with others, John hasalso constantly been touring

solo. This video chronicles hisevolving growth as one of today's foremost acousticguitar masters.

Robert Palmer writing in The New York Times said i t best: “JohnRenbourn plays a lot of English, Scottish and Irish traditional music,and he plays it surpassingly well, with a robust sound and buoyantrhythm. But he is also an eclectic who is liable to throw in jazzpieces, revamped soul music and whatever strikes his fancy. Hebrandishes a haunting technique, but by and large he does not useit to daunt. His music is first of all a music of feeling.”

ENGLAND, 1965 I Know My Rider, Bert & John RehearsingENGLAND, 1968 (w. Pentangle) Travelling Song, Let No Man

Steal Your Thyme ENGLAND, 1971 (w. Pentangle) In TimeENGLAND, 1974 Blues In A, Rosslyn ITALY, 1977 Medley: Trotto/ The English Dance, Whitehouse Blues U.S.A., 1981 (w. The JohnRenbourn Group) The Fair Flower Of Northumberland, Medley:

Pavane/Tourdion U.S.A., 1982 (w. Stefan Grossman)Candyman, Goodbye Porkpie Hat SWEDEN, 1988 (w. Stefan

Grossman) 'Round Midnight CANADA, 1990 Medley: Abide With Me/Great Dreams From Heaven NORTHERN IRELAND, 1992

Sweet Potato SPAIN, 1993 Lord Franklin, Little NilesU.S.A., 1995 Young Man Who Wouldn't Sow Corn,

Medley: The Lament For Owen Roe O'Neil & Mist Covered Mountains Of Home, Medley: The Wedding/Cherry

13032 PDF Booklet

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