Bert Jansch

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Biography

Herbert "Bert" Jansch (3 November 1943& nbsp;– 5 October 2011) was a Scottish folk music ian and founding member of the band Pentangle (band)|Pentangle . He was born in Glasgow and came to prominence in London in the 1960s, as an acoustic guitarist, as well as a singer-songwriter. He recorded at least 25 albums and toured extensively from the 1960s to the 21st century.

Jansch was a leading figure in the British folk music revival of the 1960s, touring folk clubs and recording several solo albums, as well as collaborating with other musicians such as John Renbourn and Anne Briggs . In 1968, he joined the band Pentangle, touring and recording with them until their break-up in 1972. He then took a few years' break from music, returning in the late 1970s to work on a series of projects with other musicians. He joined a reformed Pentangle in the early 1980s and remained with them as they evolved through various changes of personnel until 1995. Until his death, Jansch continued to work as a solo artist.

Jansch's work influenced such artists as Al Stewart , Paul Simon , Johnny Marr , Elton John , Bernie Taupin , Bernard Butler , Jimmy Page , Nick Drake , Graham Coxon , Donovan , Neil Young , Fleet Foxes , Devendra Banhart and Neil Halstead .

Jansch received two Lifetime Achievement Award s at the BBC BBC Radio 2 Folk Awards|Folk Awards : one, in 2001, for his solo achievements and the other, in 2007, as a member of Pentangle.

Early years

Herbert Jansch was born at Stobhill Hospital , Glasgow in 1943, the descendant of a family originally from Hamburg , Germany who settled in Britain during the Victorian era . The family name is pronounced "yansh" by almost everyone except Jansch himself. He and some close members of his family pronounce it "jansh".Harper, C., p. 7

Jansch was brought up in Edinburgh , where he attended Pennywell Primary School and Ainslie Park Secondary School . As a teenager, he acquired a guitar and started visiting a local folk club ("The Howff") run by Roy Guest .Harper, C., p. 57 There, he met Archie Fisher and Jill Doyle ( Davey Graham 's half-sister), who introduced him to the music of Big Bill Broonzy , Pete Seeger , Brownie McGhee and Woody Guthrie . He also met and shared a flat with Robin Williamson , who remained a friend when Jansch later moved to London.Harper, C., p. 84

After leaving school, Jansch took a job as a nurseryman, Harper, C., p. 13 then in August 1960, he gave this up, with the intention of being a full-time musician.Harper, C., p. 61; which notes that he worked for about a month in a supermarket. He appointed himself as an unofficial caretaker at The Howff and, as well as sleeping there, he may have received some pay to supplement his income as a novice performer who did not own his own guitar.Harper, C., p. 61 He spent the next two years playing one-night stands in British folk club s. This was a musical apprenticeship that exposed him to a range of influences, including Martin Carthy and Ian Campbell Folk Group|Ian Campbell , but especially Anne Briggs , from whom he learned some of the songs (such as " Down by Blackwaterside|Blackwaterside " and "Reynardine") that would later feature strongly in his recording career.

Between 1963 and 1965, Jansch travelled around Europe and beyond, hitch-hiking from place to place and living on earnings from busking and casual musical performances in bars and cafes.Kennedy p. 10 Before leaving Glasgow, he married a 16-year-old girl, Lynda Campbell. It was a marriage of convenience which allowed her to travel with him as she was too young to have her own passport .Harper, C., p. 125 They split up after a few months and Jansch was eventually repatriated to Britain after catching dysentery in Tangiers .

London (mid-1960s)

Jansch moved to London where, in the mid-1960s, there was a burgeoning interest in folk music.Harper, C., pp. 16–43 (Chapter: London: the first days ) There, he met the engineer and producer, Bill Leader , at whose home they made a recording of Jansch's music on a reel-to-reel tape recorder. Leader sold the tape for £100 to Transatlantic Records , who produced an album directly from it.See sleevenotes of the CD re-release of the album The album Bert Jansch (album)|Bert Jansch was released in 1965 and went on to sell 150,000 copies. It included Jansch's protest song "Do You Hear Me Now" which was brought to the attention of the pop music mainstream later that year by the singer Donovan , who covered it on his Universal Soldier EP, which reached No. 1 in the UK EP chart and No. 27 in the singles chart.John Crosby's sleeve notes from the Donovan CD, Donovan: The Very Best Of The Early Years Also included in Jansch's first album was his song "Needle of Death".Grunenberg & Harris, pp. 139-40: "Needle of Death ... did far more to make skag a drug of choice among hip British teenagers than a decade's worth of later releases on the same subject by the likes of Lou Reed ..."

In his early career, Jansch was sometimes characterized as a British Bob Dylan .Harper, C., p. 111 (although Harper points out that this comparison was not in line with Jansch's desires) Jansch followed his first album with two more, produced in quick succession: ''It Don't Bother Me and Jack Orion Harper, C., p. 357 It Don't Bother Me was released in December 1965 and Jack Orion in September 1966—which contained his first recording of "Blackwaterside", later to be taken up by Jimmy Page and recorded by Led Zeppelin as " Black Mountain Side ".Harper, C., pp. 3, 4 Jansch says: The accompaniment was nicked by a well-known member of one of the most famous rock bands, who used it, unchanged, on one of their records. Kennedy, p. 21 Transatlantic took legal advice about the alleged copyright infringement and were advised that there was "a distinct possibility that Bert might win an action against Page". Nathan Joseph|Nat Joseph of Transatlantic Records, quoted in Harper, page 5 Ultimately, Transatlantic were dubious about the costs involved in taking on Led Zeppelin in the courts, and half the costs would have had to be paid by Jansch personally, which he simply could not afford, so the case was never pursued.Harper, C., p. 5

In London, Jansch met up with other innovative acoustic guitar players, including John Renbourn (with whom he shared a flat in Kilburn, London|Kilburn ), Davey Graham , Wizz Jones , Roy Harper and Paul Simon . They would all meet and play in various London music clubs, including The Troubadour (London)|the Troubadour , in Old Brompton Road ,Harper, C., p. 160 and Les Cousins (music club)|Les Cousins club in Greek Street , Soho . Harper, C., p. 175 Renbourn and Jansch frequently played together, developing their own intricate interplay between the two guitars, often referred to as ' Folk baroque '.''Grove's Dictionary of Music (online edition) uses the term folk baroque in articles on both Jansch and Renbourn, but particularly cites the Bert and John album as exemplifying the term

In 1966, they recorded the Bert and John album together, featuring much of this material.Harper, C., p. 198 Late in 1967 they tired of the all-nighters at Les Cousins and became the resident musicians at a music venue set up by Bruce Dunnett, a Scottish entrepreneur, at the Horseshoe pub (now defunct) at 264-267 Tottenham Court Road. This became the haunt of a number of musicians, including the singer Sandy Denny .Harper, C., p. 212 Another singer, Jacqui McShee began performing with the two guitarists and, with the addition of Danny Thompson (string bass) and Terry Cox (drums), they formed the group, Pentangle.Harper, C., pp. 212-13 The venue evolved into a jazz club, but by then the group had moved on. Interview with Bert Jansch on his 60th birthday

On 19 October 1968, Jansch married .Harper, C., p. 222 At the time, she was an art student and had been the girlfriend of Roy Harper . Harper, C., pp. 221-22 She inspired several of Jansch's songs and instrumentals: the most obvious is "Miss Heather Rosemary Sewell", from his 1968 album, Birthday Blues , but Jansch says that, despite the name, "M'Lady Nancy" (from the 1971 Rosemary Lane album) was also written for her.Kennedy, p. 26 As Heather Jansch she has become a well-known sculpture|sculptress . . Retrieved 19 February 2010.

Pentangle years: 1968–73

Pentangle's first major concert was at the Royal Festival Hall , in 1967, and their first album was released in the following year.Harper, C., pp. 211, 220 Pentangle embarked on a demanding schedule of touring the world and recording and, during this period, Jansch largely gave up solo performances.Harper. p214 He did, however, continue to record, releasing Rosemary Lane in 1971. The tracks, for this album were recorded on a portable tape recorder by Bill Leader at Jansch's cottage in Ticehurst , Sussex — a process which took several months, with Jansch only working when he was in the right mood. Triste examines just what makes Bert Jansch's 1971 solo album, Rosemary Lane, recorded on sabbatical from Pentangle, so special.

Pentangle reached their highest point of commercial success with the release of their Basket of Light|Basket Of Light album in 1969. The single, Light Flight , taken from the album became popular through its use as theme music for a TV drama series Take Three Girls for which the band also provided incidental music. Guinness Book of British Hit Singles , 7th Edition (1988) In 1970, at the peak of their popularity, they recorded a soundtrack for the film Tam Lin (film)|Tam Lin , made at least 12 television appearances, and undertook tours of the UK (including the Isle of Wight Festival) and America (including a concert at the Carnegie Hall ).Harper, C., p. 224 However, their fourth album, Cruel Sister (Pentangle album)|Cruel Sister , released in October 1970, was a commercial disaster.Harper, C., p. 228 This was an album of traditional songs that included a 20-minute long version of Jack Orion , a song that Jansch and Renbourn had recorded previously as a duo on Jansch's Jack Orion album.Harper, C., p. 375

Pentangle recorded two further albums, but the strains of touring and of working together as a band were taking their toll.Harper, C., p. 229 Then Pentangle withdrew from their record company, Transatlantic, in a bitter dispute regarding royalties.Ref. Harper, C., p. 235 The final album of the original incarnation of Pentangle was ''Solomon's Seal'' released by Warner Brothers/Reprise in 1972. Colin Harper describes it as "a record of people's weariness, but also the product of a unit whose members were still among the best players, writers and musical interpreters of their day".Harper. p237 Pentangle split up in January 1973, and Jansch and his wife bought a farm near Lampeter , in Wales , and withdrew temporarily from the concert circuit.Kennedy, p. 26

Late 1970s

After two years as a farmer, Jansch left his wife and family and returned to music (although Jansch and his wife would not be formally divorced until 1988).Harper, C., p. 252 In 1977, he recorded the album A Rare Conundrum with a new set of musicians: Mike Piggott , Rod Clements and Pick Withers . He then formed the band Conundrum with the addition of Martin Jenkins (violin) and Nigel Smith (bass). They spent six months touring Australia, Japan and the United States.Kennedy, p. 32 With the end of the tour, Conundrum parted company and Jansch spent six months in the United States, where he recorded the Heartbreak album with Albert Lee .

Jansch toured Scandinavia , working as a duo with Martin Jenkins (musician)|Martin Jenkins and, based on ideas they developed, recorded the Avocet album (initially released in Denmark).Harper, C., p. 263 Jansch rates this as amongst his own favourites from his own recordings.Harper, C., p. 313 On returning to England, he set up ''Bert Jansch's Guitar Shop'' at 220, New King's Road, Fulham . The shop specialised in hand-built acoustic guitars but was not a commercial success and closed after two years.Harper, C., p. 296

1980s

In 1980, an Italian people|Italian promoter encouraged the original Pentangle to reform for a tour and a new album.Harper, C., p. 270 The reunion started badly, with Terry Cox being injured in a car accident, resulting in the band's debuting at the Cambridge Folk Festival as a four-piece Pentangle. They managed to complete a tour of Italy (with Cox in a wheelchair) and Australia , before Renbourn left the band in 1983.Harper, C., p. 271 There then followed a series of personnel changes, including Mike Piggott replacing John Renbourn from 1983-1987 and recording "Open the Door" and "In the Round", but ultimately leaving Jansch and McShee as the only original members.Harper, C., pp. 269–282 The final incarnation consisting of Jansch, McShee, Nigel Portman Smith (keyboards), Peter Kirtley (guitar and vocals) and Gerry Conway (musician)|Gerry Conway (drums) survived from 1987 to 1995 and recorded three albums: Think of Tomorrow , One More Road and Live 1994 .Harper, C., p. 295 As a solo artist in the mid-1980s, he often appeared on Vivian Stanshall and Ki Longfellow|Ki Longfellow-Stanshall 's showboat, the The Thekla|Old Profanity Showboat , in .

He had always been a heavy drinker, but in 1987 he fell ill while working with Rod Clements and was rushed to hospital, where he was told that he was "as seriously ill as you can be without dying" and that he had a choice of "giving up alcohol or simply giving up".Harper, C., p. 278 He chose the former option: Colin Harper states that "There can be no doubt that Bert's creativity, reliability, energy, commitment and quality of performance were all rescued dramatically by the decision to quit boozing".Harper, C., p. 279 Jansch and Clements continued the work they had started before Jansch's illness, resulting in the 1988 Leather Launderette album.

Final years and death: 1995–2011

From 1995, Jansch appeared frequently at the 12 Bar Club in Denmark Street , London.Harper, C., pp. 295-96 One of his live sets there was recorded direct to Digital Audio Tape (DAT) by Jansch's then manager, Alan King, and was released as the Live at the 12 Bar: an official bootleg album in 1996. Harper, C., p. 299 In 2002 Jansch, Bernard Butler and Johnny "Guitar" Hodge performed live together at the Jazz Cafe, London., retrieved 19 February 2010: "Bert's September 23 show at the Jazz Cafe in London.... Bert was joined onstage by Bernard Butler on guitar and Makoto Sakamoto on drums, as well as, earlier in the set, Johnny "Guitar" Hodge on acoustic guitar and Loren Jansch on vocals." In 2003, Jansch celebrated his 60th birthday with a concert at the Queen Elizabeth Hall in London. The BBC organised a concert for Jansch and various guests at the church of St Luke Old Street (church)|St Luke Old Street , which was televised on BBC Four .

In 2005, Jansch teamed up again with one of his early influences, Davey Graham , for a small number of concerts in England and Scotland.: Latest News section. Retrieved 23 February 2010. His concert tour had to be postponed, owing to illness, and Jansch underwent major heart surgery in late 2005. "Live gigs were due to resume in the later part of ...however that tour had to be postponed, as Bert had to undergo heart surgery. He is now recovered..." By 2006 he had recovered and was playing concerts again. Jansch's album The Black Swan (his first for four years) was released on Sanctuary on 18 September 2006, featuring Beth Orton and Devendra Banhart on tracks "Katie Cruel", "When the Sun Comes Up", and "Watch the Stars", amongst other guests. Details of the album are given on Jansch's website In 2007, he featured on Babyshambles album, Shotter's Nation , playing acoustic guitar in the song "The Lost Art of Murder"., NME Online, 1 August 2007. Retrieved 18 February 2010. After recording, he accompanied Babyshambles' lead singer Pete Doherty on several acoustic gigs, and performed on the Pete and Carl Reunion Gig, where ex-Libertines and Dirty Pretty Things singer Carl Barat joined Doherty on stage., NME online, 12 April 2007. Retrieved 18 February 2010.

In 2009 he played a concert at the London Jazz Cafe to celebrate the release of three of his older albums ( LA Turnaround , Santa Barbara Honeymoon and A Rare Conundrum ) on CD format.. Retrieved 19 February 2010. However, later that year, due to an unexpected illness, he had to cancel a 22-date North American tour that was due to start on 26 June. Jansch's website reported: "Bert is very sorry to be missing the tour, and apologises to all the fans who were hoping to see him. He is looking forward to rescheduling as soon as possible.". Retrieved 18 February 2010.

Jansch opened for Neil Young on his Twisted Road solo acoustic tour in the US and Canada, starting on 18 May 2010. He also performed at Eric Clapton 's Crossroads festival in June 2010. These were Jansch's first shows since his illness. retrieved 10 April 2010 In 2011, a few reunion gigs took place with Pentangle, including performances at the Glastonbury Festival and one last final concert at the Royal Festival Hall , London , which was also Jansch's last ever public performance.

Jansch died on 5 October 2011, aged 67, at a hospice in Hampstead after a long battle with cancer.

Recognition and awards

In 2001 Jansch received a Lifetime Achievement Award at the BBC Radio 2 Folk Awards ,. Retrieved 2 March 2010. and on 5 June 2006, he received the MOJO Awards#2006 Honorees|MOJO Merit Award at the Mojo (magazine)|Mojo Honours List ceremony, based on "an expanded career that still continues to be inspirational". The award was presented by Beth Orton and Roy Harper . Rolling Stone ranked Jansch as #94 on its list of the 100 Greatest Guitarists of all Time in 2003.

In January 2007, the five original members of Pentangle (including Jansch) were given a Lifetime Achievement award at the BBC Radio 2 Folk Awards .. Retrieved 2 March 2010. The award was presented by Sir David Attenborough . Producer John Leonard said "Pentangle were one of the most influential groups of the late 20th century and it would be wrong for the awards not to recognise what an impact they had on the music scene.". Retrieved 2 March 2010. Pentangle played together for the event, for the first time in more than two decades, and their performance was broadcast on BBC Radio 2 on Wednesday, 7 February 2007. In 2007, Jansch was also awarded an Honorary Doctorate of Music by Edinburgh Napier University , "in recognition of his outstanding contribution to the UK music industry".. Retrieved 21 February 2010.

Music

Bert Jansch's musical influences included Big Bill Broonzy Harper, C., p. 58 and Brownie McGhee , whom Jansch first saw playing at The Howff in 1960 and, much later, claimed that he'd "still be a gardener" if he hadn't encountered McGhee and his music.Harper, C., pp. 57-8 Jansch was also strongly influenced by the British folk music tradition, particularly by Anne Briggs Harper p.113 and, to a lesser extent, A.L. Lloyd .Harper, C., p. 199, particularly regarding Jack Orion Other influences included jazz (notably Charles Mingus Harper, C., p. 92 particularly mentions the record Mingus Ah-Um as an influence), early music ( John Renbourn and Julian Bream ) and other contemporary singer-songwriters — especially Clive Palmer .Harper, C., p. 92 The other major influence was Davey Graham Harper, C., p. 86 who, himself, brought together an eclectic mixture of musical styles.See Wikipedia article Davey Graham Also, in his formative years, Jansch had busked his way through Europe to Morocco, picking up musical ideas and rhythms from many sources. From these influences, he distilled his own individual guitar style.

Some of his songs feature a basic clawhammer style of right-hand playing but these are often distinguished by unusual chord (music)|chord voicing (music)|voicing s or by chords with added notes. An example of this is his song "Needle of Death", which features a simple picking style but several of the chords are decorated with added ninth s. Characteristically, the ninths are not the highest note of the chord, but appear in the middle of the arpeggio|arpeggiated finger-picking, creating a "lumpiness" to the sound.Kennedy, p. 14

Another characteristic feature is his ability to hold a chord in the lower strings whilst bend (guitar)|bending an upper string—often bending up from a semitone below a chord note. These can be heard clearly on songs such as "Reynardine" where the bends are from the diminished fifth to the perfect fifth . Kennedy, p. 8 Jansch often fitted the accompaniment to the natural rhythm of the words of his songs, rather than playing a consistent rhythm throughout. This can lead to occasional bars appearing in unusual time signature s. For example, his version of the Ewan MacColl song " The First Time Ever I Saw Your Face ", unlike most other covers of that song, switches from 4/4 time to 3/4 and 5/4.Kennedy, p. 16 A similar disregard for conventional time signatures is found in several of his collaborative compositions with Pentangle: for instance, "Light Flight" from the Basket of Light album includes sections in 5/8, 7/8 and 6/4 time.See sleeve notes of Basket of Light

Instruments

Through the development of Pentangle, Jansch played a number of instruments: banjo ,For example, the song "House Carpenter" from the Basket of Light album (see album sleeve notes) Appalachian dulcimer ,For example, the song "A maid that's deep in love" from the Cruel Sister album (see album sleeve notes) recorder For example, in the song "The Snows", from the ''Solomon's Seal album (see album sleeve notes) and concertina For example, the song "Lord Franklin", from the Cruel Sister'' album (see sleeve notes)—on rare occasions he has even been known to play electric guitar . However, it is his acoustic guitar playing that is most notable.Harper, C., p. 84, describes his playing, in his early days, as "increasingly accomplished, if singular". Page 106 quotes Frank Coia as saying that Jansch's style "was a total diversity from normal, conventional playing - in tonality, in dissonance, in his idea on chord progressions. His accentuation and the actual timing is so unique."

Jansch's first guitar was home-made from a kitHarper, C., p. 12 but when he left school and started work, he bought a Hoffner cello-style guitar.Harper, C., p. 13 Soon he traded this in for a Zenith which was marketed as the " Lonnie Donegan guitar" and which Jansch played in the folk clubs in the early 1960s.Harper, C., p. 22 His first album was reputedly recorded using a C. F. Martin & Company|Martin 00028 borrowed from Martin Carthy . Pictures of Jansch in the middle 1960s show him playing a variety of models, including Martin and Epiphone guitars.See photographs section of He had a guitar hand-built by John Bailey (luthier)|John Bailey , which was used for most of the Pentangle recordings but was eventually stolen.Harper, C., p. 209. Jansch later played two six-string guitars built by the Coventry-based luthier, Rob Armstrong, one of which appears on the front and back covers of the 1980 Shanachie release, Best of Bert Jansch . He then had a contract with Yamaha (manufacturer)|Yamaha , who provided him with an FG1500 which he played, along with a Yamaha LL11 1970s jumbo guitar. Jansch's relationship with Yamaha continued and they presented him with an acoustic guitar with gold trim and abalone inlay for his 60th birthday although, valued at about £3000, Jansch is quoted as saying that it is too good for stage use. Jansch was a well-known Fylde Guitars|Fylde guitar player. lists Jansch as a player of their instruments

Influence

Jansch's music, and particularly his acoustic guitar playing, have influenced a range of well-known musicians. His first album ( Bert Jansch , 1965) was much admired, with Jimmy Page saying "At one point, I was absolutely obsessed with Bert Jansch. When I first heard that LP, I couldn't believe it. It was so far ahead of what everyone else was doing. No one in America could touch that."Quoted in a list of tributes to Jansch inside the front cover of Harper's biography. Page would record a version of Jansch's "Blackwaterside" controversially without crediting Jansch's arrangement.Harper, C., pp. 3, 4

The same debut album included Jansch's version of the Davy Graham instrumental "Angie". This was a favourite of Mike Oldfield , who practised acoustic guitar alone as a child, and was then heavily influenced by Jansch's style. The title of the instrumental inspired Oldfield to call his first band (with sister Sally) The Sallyangie. Jansch's version of "Angie" inspired Paul Simon 's recording of the piece, which was retitled "Anji" and appeared on the Simon & Garfunkel album Sounds of Silence (album)|Sounds of Silence .Harper, C., p. 335. Quote that Jansch is incredulous that Simon's version of Anji (and other subsequent recordings) are based on his own, "mistakes and all" From the same era, Neil Young is quoted as saying, "As much of a great guitar player as Jimi was, Bert Jansch is the same thing for acoustic guitar...and my favourite." Quoted at Nick Drake and Donovan were both admirers of Jansch:Jerey Simmonds, The Encyclopedia of Dead Rock Stars: Heroin, Handguns, and Ham Sandwiches , Chicago Review Press, 2008 ISBN 1-55652-754-3, 9781556527548; p. 75: " was inspired by musicians like Bert Jansch and John Renbourn" both recorded covers of his songs and Donovan went on to dedicate two of his own songs to Jansch; "Bert's Blues" appeared on his Sunshine Superman (album)|Sunshine Superman LP, and "House of Jansch" on his fourth album Mellow Yellow (album)|Mellow Yellow . Other tributes included Gordon Giltrap 's album Janschology (2000) which has two tunes by Jansch, plus two others that show his influence.. Retrieved 18 February 2010. Further afield, the Japanese acoustic guitar player Tsuneo Imahori is known to have been heavily influenced by Jansch.. Retrieved 21 February 2010.

Discography

;Albums

1965 – Bert Jansch (album)|Bert Jansch

1965 – '' It Don't Bother Me (album)|It Don't Bother Me

1966 – Jack Orion (with John Renbourn )

1966 – Bert And John (with John Renbourn )

1967 – Nicola (album)|Nicola

1969 – Birthday Blues (album)|Birthday Blues

1971 – Rosemary Lane (album)|Rosemary Lane

1973 – Moonshine (Bert Jansch album)|Moonshine

1974 – L.A. Turnaround

1975 – Santa Barbara Honeymoon

1977 – A Rare Conundrum (released 1976 in Denmark and 1977 in UK)

1979 – Avocet (album)|Avocet (released 1978 in Denmark and 1979 in UK)

1980 – Thirteen Down (credited as "The Bert Jansch Conundrum")

1982 – Heartbreak (Bert Jansch album)|Heartbreak

1985 – From The Outside (only released officially in Belgium)

1989 – Leather Launderette (with Rod Clements )

1990 – Sketches (album)|Sketches

1990 – The Ornament Tree

1995 – When The Circus Comes To Town

1998 – Toy Balloon (album)|Toy Balloon

2000 – Crimson Moon

2002 – Edge of A Dream

2006 – The Black Swan (Bert Jansch album)|The Black Swan

;Live

1980 – Bert Jansch Live at La Foret (released in Japan only)

1993 – BBC Radio 1 Live in Concert

1996 – Live At The 12 Bar: An Authorised Bootleg

1998 – Young Man Blues

2001 – Downunder: Live In Australia

2004 – The River Sessions (Bert Jansch album)| The River Sessions

2007 – Fresh As a Sweet Sunday Morning (live concert 2006 CD/DVD)

;Singles and EPs

1966 – Needle of Death (EP)

1967 – "Life Depends on Love"/"A Little Sweet Sunshine"

1973 – "Oh My Father"/"The First Time I Ever Saw Your Face"

1974 – " In the Bleak Midwinter|In The Bleak Midwinter "/"One For Jo" (non-album A-side)

1975 – "Dance Lady Dance"/"Build Another Band"

1978 – "Black Birds of Brittany"/"The Mariner's Farewell"

1980 – "Time and Time"/"Una Linea Di Dolcezza"

1982 – "Heartbreak Hotel"/"Up To The Stars"

1985 – "Playing the Game"/"After the Long Night"

2003 – "On the Edge of a Dream"/"Walking This Road"/"Crimson Moon"

;Compilations

1966 – Lucky Thirteen (Bert Jansch album)|Lucky Thirteen (U.S. release containing tracks from Jansch's two UK LP's.)

1969 – Bert Jansch: The Bert Jansch Sampler

1972 – Box Of Love: The Bert Jansch Sampler Volume 2

1986 – Strolling Down The Highway

1992 – The Gardener: Essential Bert Jansch

1993 – Three Chord Trick

1997 – Blackwater Side

2000 – Dazzling Stranger: The Bert Jansch Anthology

2011 - Angie : The Collection

;DVD

2007 – Fresh As a Sweet Sunday Morning (live concert 2006)

Copyright Citations

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1. Bernard Butler 2. Mary Hopkin 3. Incredible String Band 4. Charles Mingus 5. Terry Oldfield 6. Pentangle 7. John Renbourn 8. Peggy Seeger 9. Al Stewart 10. Dave Swarbrick 11. Dick Gaughan 12. Roy Harper 13. Jack Orion 14. Babyshambles 15. Baby Shambles 16. Eleanor McEvoy 17. Sketch 18. The Incredible String Band 19. The Pentangle 20. Danny Thompson 21. Pierre Bensusan

Undetermined Music Artists