other to such a degree that in
many places on the album it is
impossible to tell one from
the other.
The pieces chosen for
this album allow both guitarists
a chance. To demonstrate their
abilities to the fullest, The
first two selections,"A Love
supreme" and "Naima" were writ
ten by the late jazz great
John Coltrane and within these
two pieces, the pace for the
album is set. The first is an
intense piece with the guitars
and organ taking the solo pas
sages against a heavy bass and
strong Latin percussions.
"Naima" is performed by just
the two guitarists and shows
better than any other piece,
how well the two guitarists
work. The two selections
written by McLaughlin also
show this mutual respect.
"The Life Divine" is a hard
driving piece with both guitar
ists working at their best.
"Meditation" a piece written
for piano and guitar shows
this same intensity while in a
much slower and softer form.
The only weakness on the album
occurs during the duo's ar
rangement of "Let Us Go Unto
The House of the Lord" which
takes up most of Side 2.
Here, while trying - to take the
musical energies to their high
est levels, the musicians start
competing instead of compliment
ing. But the album on the
whole is tight, well laid out,
and well performed. The back
up musicians do their job 100+
and the whole session was
recorded with all the inten
sity of a live performance. I
would recommend the album to
all rock fans who are tired of
pretentious galm and hype rock
and would like to hear good
music, well performed, and made
with an intent to make good
music not a million dollars.
The greatest happiness one can
have is the knowledge that he
does not require happiness.
William Saroyan
Carousel
BOOK 'n' CARDS
GIFTS
(formerly cosgroves)
DOWNTOWN HAZLETON
IMPRINTING & MONOGRAMING
ON CARDS, NAPKINS, COASTERS, LETTERHEADS
HIGHACRES COLLEGIAN, OCTOBER 8, 1973 - PAGE FIVE
3'ANSOI mode, John has done different
styles. Unfortunately, his
AND first 3 solo. , records on Trans -
014141 atlantic have never been avail
able on U.S. labels, so we
pick up his, career on his al
bum "Sir Johm Alot of Merrie
Englandes Musyk Thyng and Ye
grene Knyght.' This is strict
ly an instrumental collection
with a combination of accoustic
guitar, flute, and glocken
speil, creating a very medieval
sound with jazz inflUences
brought in---a very interesting,
successful album. His fifth
album "Lady and the Unicorn"
goes deeper into this medie
val sound but with less jazz,
and an electrid guitar add= '
ed. This is every bit as
good as "Sir John A10t...."
His new album, "Farr
by Alan Prichard
Bert Jansch and John
Renborne were members of the
late English folk-jazz grout
of Pentangle. I say late
because they recently broke up
after 5 years of excellent con
certs and recordings. It's un
fortunate that they did not
reach a wider audience. In
their time they had created a
unique folk -jazz synthesis.
While the go4p'ovacillated be
tween the two stules on'their
albums, the combination jelled
well enough to make each effort
truly outstanding. This was
due in no small - part to the
proven talents of Bert and
John in their earlier careers
as solo artists on the English
folk scene. These two albums
from last spring continue
their careers adding these
lines.
"Moonshine" is Bert
Jansch's 6th U.S. album and
the first in about a year and
a half. He has more albums on
the English folk label
Transatlantic, on which John
Renbourn and Pentangle also
recorded. Unlike most English
labels, I've found Transatlantic
no better soundwise than the
U.S. copies. "Moonshine" is
characterized by larger in
strumental backups than Bert
has had before, except in Pen
tangle. At times it even
sounds life Pentangle, only
with fewer jazz overtones.
Basically / though, this
record continues Bert's string
of fine folk albums. This is
certainly an outstanding
recording, although the mixing
could have been better.
John Renbourn;s new album
"Faro-Annie" presents a
totally different side of Pen
tangle. While Bert's recordings
are geherally in the same
Annie" is completely different
from these. Here he plays
blues and folk songs, and sings
for the first time on one of
his recordings. But his sing
ing seems almost desultory or
at least very subdued in every
thing he attempts. A very
"laid back" recording, not bad
by any means, merely a Ippecial
taste". Some of the cuts
suffer in comparison to
other versions I've heard by
Fairport Convention and
Richard and Mimi Farina. I
wouldn't recommend this album
to most, but it is worthwhi/e
on its own terms.
If anyone is interested in
more English folk music(but
pure and unadulterated) I'd
suggest writing to Leader
Trailer, Topic, and Transatlan
tic records in London. Their
selections are outstanding
especially those recordings
by the High Level Ranters
who tore up the P.S.U. Folk
Festival in January 1971.
gffINDTI
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