John Renbourn was a guitarist of many worlds. Though rightly championed as a vanguard member of the British folk movement during the 1960s, he was a quietly restless journeyman that expanded the roles of jazz, blues, Eastern music and even shades of Baroque within a decidedly folk context.
As a result, his recordings were always rich and stylistically varied while his concerts, especially acoustic sessions done solo or as collaborations with pals from the seminal folk troupe Pentangle, were deceptively unassuming affairs.
During the ‘90s and ‘00s, when he performed as close as Newport and Covington with Pentangle mates Bert Jansch and Jacqui McShee, he presented no airs. He possessed enough technique and stylistic dexterity to teach a master class on guitar history. But his delivery was always relaxed and conversational, a blend of folk traditions laced with the casual improvisational command of a jazz scholar.
Renbourn died on March 26 at the age of 70 in Scotland from a heart attack. He was scheduled to perform in concert that evening.
He leaves behind an extraordinary catalogue of music, from mid ‘60s duet albums with Jansch (who died in 2011) to groundbreaking blends of folk, blues and jazz cut with Pentangle during a wildly prolific run between 1968 and 1973 to a host of exemplary projects under his own name that shifted from the Renaissance flavor of 1970’s Lady and the Unicorn to the world music slant of 1981’s Grammy nominated Live in America.
Especially recommended are the extraordinary 1966 folk/blues set Jack Orion (with Jansch), Pentangle’s breathtaking half live/half studio 1968 opus Sweet Child and 1971’s folk-refined Faro Annie. The latter remains, arguably, Renbourn’s finest solo record.
A burly man with an impish smile and an audience-friendly demeanor, Renbourn was never so outward with his talent that he could be considered a celebrity, especially since his career largely bypassed rock ‘n’ roll. But make no mistake. Last week, a guitar giant left us.