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16 de ene. de 2015 · Its this magnificence that I have to extend to Bert Jansch’s instrumental neo-folk masterpiece, 1979’s Avocet. Before recording this album, he had joined up with fellow musical vagabond Martin Jenkins from Dando Shaft. Tired from singing, and taking stabs at solvency through earlier recordings he’d done in America, he retreated back home ...
14 de oct. de 2010 · Live at Moraga Hall, Santa Cruz, 1978
29 de abr. de 2016 · Limitée 49,68 € Vinyle album. Ed. Standard 43,82 €. Bert Jansch (1943-2011) est de ces musiciens dont la disparition n'efface pas l'importance. Mieux, les années passant, ses oeuvres à la fois classiques et singulières, quelque chose comme le haut artisanat du folk-rock britannique, révèlent une patine admirable.
29 de ago. de 2019 · Bert Jansch was often quoted as saying "I'm not playing for anyone, just myself" and this feels no more apparent than on 1979's 'Avocet', his beautifully meditative paean to British birds. This isn't to say that Jansch was throwing commercial success to the wind, or was unaware of his audience, more that this album feels like a uniquely personal reflection of him.
Avocet is a Glasgow based trio comprising Sam Grassie (guitar, violin), Iona Zajac (vocals, clarsach) and Herbie Loening (double bass, guitar). Taking their name from Bert’s 1979 album, their music explores the boundaries between trad folk and world blues. Following their win at the DK Celtic Connections Festival they signed to Mink Records ...
26 de nov. de 2015 · Bert Jansch was often quoted as saying "I'm not playing for anyone, just myself" and this feels no more apparent than on 1979's Avocet, his beautifully meditative paean to British birds. This isn't to say that Jansch was throwing commercial success to the wind, or was unaware of his audience, more that this album feels like a uniquely personal reflection of him.
16 de mar. de 2016 · Bert Jansch was often quoted as saying "I'm not playing for anyone, just myself" and this feels no more apparent than on 1979's 'Avocet', his beautifully meditative paean to British birds. This isn't to say that Jansch was throwing commercial success to the wind, or was unaware of his audience, more that this album feels like a uniquely personal reflection of him.
