The Black Swan

Bert Jansch

Bert Jansch himself confesses to not knowing how many albums he has recorded. In Guitar and Bass magazine he admits. "I've no idea at all. It's in the twenties I know that." Having fought off alcoholism, bankruptcy and recently heart sugery he's entitled to be a bit hazy about the details.

This particular stage of his career sees him align himself to the nu-folk brigade. Collaboration's the name of the game. Production is handled by Noah Georgeson, sound shaper for Devendra Banhart. Devendra also appears in person to chip in with some vocals as does Beth Orton. Elsewhere there's beautiful cello assistance from Helena Espvall moonlighting from Espers.

It appears to have given him a new lease of life, allowing light to shine into old dusty corners. He's still a keeper of the flame for traditional song and he revamps 'A Woman Like You' from his Pentangle days. Coupled with the originals there's a broad range of subject matter here. He still sings about the beauty/distruction of the environment with the same passion and relatioships are never too far away. What suprises though is his swipe at the Bush administration on Texas cowboy blues.

For someone who had to borrow a guitar to record his first album he's come a long way. Each track is entwined with fingerpicking that has been distilled like the finest of malts. It has a haunting quality reminiscent of his acclaimed Rosemary Lane album.

His voice has a characterful gruffness and retains the same mixture of hope and regret. It may not be the most supple of instruments but the songs are better for never allowing it to lose out to his guitar in the mix. The whole piece has a sense of spellbound journeying. It's less cluttered and more confident than his last offering 'Crimson Moon'.

Authority is stamped all over this. Not only does it remind us that he is one of the best guitarists of this or any generation but mainly that he is a master song writer.

David Kushar