John Renbourn’s death sent shock waves throughout the acoustic guitar world when he passed away in 2015. We asked Clive Carroll, who toured with John extensively, for his reminiscences about the man and his music
After touring in the south west of England in the early 1960s, John Renbourn first came to prominence when he formed a duo with Bert Jansch, riding the wave of the great English folk revival, but blazing a trail for what became known as ‘folk baroque’. The pair’s intricate and exacting instrumentals already had a flavor with Renbourn’s interest in medieval music, something he had come into contact with while studying classical guitar at school. Jansch and Renbourn went on to form the band Pentangle with vocalist Jacqui McShee, fiddler Sue Draheim, bass player Danny Thompson, and drummer Terry Cox. The band’s unique blend of influences – which included blues and traditional folk, with the occasional foray into pop – reached American ears, leading to appearances at the Newport Folk Festival and Carnegie Hall. Parallel to this was an increasingly fruitful career for Renbourn as a soloist, recording many albums that would go on to become pioneering landmarks of acoustic playing.
Clive Carroll first encountered John Renbourn when he supported him at his local folk club. Renbourn was so impressed with this young performer that he decided to take him under his wing and, over the years, the pair toured extensively both here in the UK and in the United States.
The opening track on Clive’s latest solo album, The Furthest Tree, is an affectionate memorial to Renbourn. Titled The Abbot’s Hymn after a memorable occasion when John discovered Greene King’s Abbot Ale, it forms a touching tribute to a man who acted both as a mentor, friend and guides in Clive’s formative years as a musician.
What was it like when you first began touring with John?
This story is from the May 2019 edition of Guitarist.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber ? Sign In
This story is from the May 2019 edition of Guitarist.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Sign In
Sonic Shaper
Electro-Harmonix revisits the effect that launched the company with the LPB-3 Linear Power Booster and EQ
Platinum Blonde
PRS has updated its Texas-voiced David Grissom signature amp with more features, lower wattage and a more approachable price tag
TAN LINES
Many of us regard straps as a bit of an afterthought, but to find one that matches the quality of a custom or vintage guitar, Rod Boyes of Pinegrove Leather can help
ELECTRIC STRINGS
Your tone starts with your strings - strike a balance between sound, tuning and durability with six of our favourites
DIFFERENT WINDS
While there's no end to repros of all the classic pickup styles, more and more pickup makers are mixing things up to move forward - Cream T is a good example
Long termers
A few months' gigging, recording and everything that goes with it - welcome to Guitarist's longterm test report
Top Guns
Chapman's new factory move coincides with a bit of a rethink. We track down the key players all around the world
the Wishlist
Dream gear to beg, borrow and steal for...
Reach For The Star
Earlier this year Guild reorganised its 70s-era Polara range. We spent some time with this mid-range 2024 model: a modern pawn-shop prize or a copy too far?
HIGH FLYER
Adrian Thorpe of ThorpyFX remembers the flight path - and turbulence behind Chris Buck's Electric Lightning overdrive/boost, named after a fighter jet and packing a bona fide valve