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Acoustic 2015 #6 magazine .

Acoustic 2015 #6

раздел: Music журналы

Содержание журнала:
cliVe cARRoll trip to the north’ – a plectrum-based tune infl uenced by Doc Watson
leon hunt ‘arkansas traveler’ – exploring the styles of fi ve-string banjo
dAniel ho a uke and classical guitar duet ‘canarios’ with Pepe Romero
thoMAs leeb exploring the percussive possibilities with a six-string guitar and ‘Blood & time’
dAVid MeAd ‘a minor incident’ – Discovering DaDgaD
chRis Woods noodling around scales and chords in dropped B tuning
Rotosound FActoRy Visit: 57 yeARs oF stRings Founded in 1958, Rotosound has become one of the foremost string makers in the world. noted for their bass guitar strings, Rotosound also
produce numerous acoustic sets. Here, we tour the Kent facility, talk to ceo Jason How, and review the entire steel-string acoustic range…
in the WoRKshoP: Visiting deVon’s bRooK guitARs Julian Piper travels into darkest Devon to unravel the guitar making secrets of one of the country’s fi nest
makers. after 21 years of operation, Brook guitars seem as much part of their environment, as the local woods that they use in their instruments.
in the looP this month, matt stevens explores the sounds that can help you stand out from the crowd.
12-stRing coRneR Pushing the boundaries of the 12-string guitar with Paul Brett and his composition ‘the altar and the crown’.
FAiRbAnKs F30 Rs Feather-light construction that feels as sturdy as a pre-war gibson - stephen Bennett explores the virtues of this F30 from Dale Fairbanks with bags of vintage tone...
gibson J-15 a new take on a gibson dreadnought causes a few raised eyebrows from reviewer David mead
AVAlon l2-20c David mead looks at an entry-level custom acoustic from avalon
sigMA dMe dReAdnougHT David mead meets a dreadnought from sigma with an unbelievable price tag...
shAcKleton THRee bAnJo a British-made banjo from the aptly named the great British Banjo company comes under our scrutiny - oh, and it’s under a grand, too!

In the mid-1960s, London was abundant with guitar pickers, but it was the ambitious double act Bert Jansch and John Renbourn who best personifi ed the era’s bohemian folk ideal. It was a night of drinking in Scots Hoose pub, London, that brought the two guitar prodigies together - though it ended with them both “being drunk in the gutter,” John recalled in a previous Acoustic magazine interview. Varying tales of their fi rst encounter exist, and if you’d have asked Bert, a different tale would have been told each time - “too far back to remember,” he told me during one interview.
John’s fi rst encounter with Bert - the guitarist with whom he’d be most closely associated - though fortuitous, was made more likely by the venue. Scots Hoose was home to one of the most celebrated folk clubs in the UK; its upstairs quarters featured some of the biggest names of the 60s folk revival - McTell, MacColl, Denny, Harper, Graham, Stewart… as well as Jansch and Renbourn.
Born in Marylebone, London, in 1944, John Renbourn became involved with the London folk scene in the early 1960s. Reveling in one another’s virtuosity, Jansch and Renbourn recorded Bert And John in 1966. Renbourn became a founding member of Pentangle the following year, along with Jansch, Danny Thompson, Jacqui McShee and Terry Cox.
Pentangle’s fi rst American tour included performances at the Newport Folk Festival and Fillmore West with the Grateful Dead. That line-up of Pentangle disbanded in 1973 having recorded fi ve albums: 1968’s The Pentangle and Sweet Child, 1969’s Basket Of Light, 1970’s Cruel Sister and 1971’s Refl ection.
Renbourn also recorded and gigged as a solo artist in tandem with his commitments in Pentangle. He released his fi rst album - the self-titled John Renbourn - in 1965. During the 1980s, he received Grammy nominations for 1981’s Live In America with the John Renbourn Group, and for Wheel Of Fortune, his 1983 collaboration with Robin Williamson. His last studio album was 2011’s Palermo Snow.
John’s expert command of many playing styles - classical, folk, jazz, blues and world music - combined with his enthusiasm to push boundaries and explore an ever-expanding list of genres and techniques earned him commendations from many musicians across multiple genres. As an esteemed British guitar player, folk trailblazer and innovator, his pioneering style not only provided great stimulus to the 1960s folk scene, but also infl uenced rock heavyweights such as Eric Clapton and Jimmy Page.
John never stopped making music, and this issue is dedicated to his memory. To many readers he was an icon, to many contributors a treasured friend, but, to us all, he was a pioneering folk prodigy who paved the way -along with the late Bert Jansch - for the music we enjoy and adore so dearly to this day.
John Renbourn, born August 8 1944, died aged 70 at his home in Hawick, Scotland, on March 26 2015.

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