Best Of Jazz Vol 131 - Jazz Blues Vol 01 - West End Blues (1956-2024)
Bob Mac's Compilations
Welcome to my compilations of Blues, R&B, Soul, Gospel, Jazz, Rockabilly, Rock & Roll, Hillbilly & Country music.
Sunday, October 25, 2026
Blues, R&B, Soul & Gospel Records Vol 316 (1937-2023)
Wednesday, October 21, 2026
Bob's Chat
ON THE ROAD AGAIN
This Friday my wife and I will be traveling to Bangkok, then catching a night flight to Perth, Australia, where we'll spend the next 5 weeks at my Perth apartment. We'll be back in Thailand early December. There shouldn't be any disruption to the posting schedule, the next post is due on Sunday and we should be settled back in by then.
I've noticed that French bluesman Nico Wayne Toussaint will be performing at a nearby pub in Perth on November 24th, so I'm looking forward to seeing/hearing some good live blues again as there's bugger all live blues where I live out among the rice fields of N.E. Thailand.
Here's another album by the renowned British acoustic guitar player, Bert Jansch, this one recorded live At The Palms Playhouse, Davis, California, April 19, 1996. I remember one night when I was living in London in 1966 and I had been out on the tiles around Soho with a couple of friends. We came across this folk club, entered the door and climbed stairs up to this large candle-lit room where many people were seated, drinking and listening to an acoustic guitarist/singer. We hung around and heard a couple of songs before moving on, and I never found out who that musician was. But he was very good and due to the thunderous applause he received at the end of his songs he was obviously a celebrity. So to this day I've often wondered if it was Bert Jansch or John Renbourn or Davy Graham that I had caught a glimpse of that evening.
Don't forget to check out Bob's Cellar. Our good friend cabledogg2 just posted another bunch of bluegrass/country/blues CDs, and over the past few days Spidey, Reb & Nance have all shared some interesting things from their personal collections. So dig in and help yourselves, and don't forget to take a few seconds to thank these generous people for sharing all this great music.
Anyway my friends next time you hear from me I'll be enjoying a vegemite sandwich and a cold Aussie lager.
Bert Jansch - Live At The Palms Playhouse, Davis, California (1996)
The widely circulated and iconic soundboard live recording of Scottish folk singer, songwriter and guitarist Bert Jansch, recorded on April 19, 1996, at The Palms Playhouse in Davis, California during his "When The Circus Comes To Town" tour.
Tracklist:
02. Open Road
03. Blues Run The Game
04. Untitled
05. Walk Quietly By
06. Come Back Baby
07. Black Waterside
08. Morning Brings Peace Of Mind
09. Let Me Sing
10. Instrumental
11. Living In The Shadows
12. No One Around
13. My Donald
14. Summer Heat
15. A Woman Like You
16. When The Circus Comes To Town
17. Lily Of The West
18. Instrumental
19. Just A Dream
20. Untitled
21. Running From Home
22. Anji
23. Candyman
24. Back Home
25. As She Moved Through The Fair
26. Let Your Hair Down Woman
27. Key To The Highway
28. Untitled
29. Strolling Down The Highway
30. Stealing The Night Away
Bert Jansch - Guitar & Vocals
Bert Jansch was born 1943 in Glasgow, Scotland and raised in Edinburgh. He started playing guitar at 15, immediately displaying outstanding ability, and became a songwriter at 16. The early 60s in the U.K. were a time of musical ferment. Black American blues artists like Big Bill Broonzy, Memphis Slim, Muddy Waters and Sonny Terry & Brownie McGhee had toured there and had records issued that that were purchased by a small, devoted audience. The U.K.'s own folk music was being rediscovered and a network of clubs and folk song societies had sprung up, presenting traditional performers and young innovators.
American jazz, all styles, Modern, Swing and New Orleans was widely available on records and had a substantial following. Jansch had the talent and the ears to learn from it all, especially Broonzy and McGhee, but his biggest influence was Davy Graham, composer of “Angie” aka “Anji” recorded by Paul Simon and many others.
Graham (1940-2008), son of a Scottish father and a Guyanese mother, developed a guitar style incorporating blues, jazz, U.K. folk, Indian and Middle Eastern music, playing with great facility, two and sometimes three lines simultaneously.
Jansch took the style further, playing with a looser, more bluesy feeling, using dissonance and unusual chords, adding or subtracting bars and beats and using counter rhythms to accompany his vocals which had a unique mournful quality and were devoid of flashy technique, histrionics or overt borrowings from black blues singers. In 1964, Jansch became a phenomenon on the U.K. folk scene and beyond, playing clubs all over the country, his songs and astonishing guitar playing amazing musicians.
Jimmy Page, in 1971 commented, “He was the innovator of that time. He tied up the acoustic guitar in the same way Hendrix did the electric. His first two LPs had some instrumental work that was totally unbelievable. I watched him play once at a folk club and it was like watching a classical guitarist playing. All the inversions he was playing were unrecognizable. His playing was amazing.” In 1968, Jimmy Page recorded for the Led Zeppelin album, Jansch's guitar arrangement of the traditional song “Black Waterside”, calling it “Black Mountain Side”.
When Pentangle broke up in 1973, Jansch retired from music to become a farmer. In the late 70s he resumed a solo career and then reformed Pentangle with various lineups during the 80's. In 1987, damage to his pancreas due to long term heavy drinking nearly caused his death and he remained sober for the rest of his life.
A creative and career resurgence began in the 1990s, culminating in the commercial success of his last studio CD, 2006's, The Black Swan, which paired Jansch with Beth Orton, Devendra Banhart and other later generation musicians. In June 2009, he was diagnosed with lung cancer and half of one of his lungs was removed. In May 2010, he resumed performing, opening shows for a Neil Young acoustic tour. A second operation for lung cancer caused Jansch to cancel his appearances on another Neil Young tour in the Fall of 2010. He was able to make a short headlining tour of the Northeast U.S. with Pegi Young as the opening act in November and December 2010 including Johnny D's in Somerville MA. Bert Jansch died ten months later. RIP Bert Jansch (1943-2011)
Soul Party Vol 123 - Love & Hate Vol 01 - Headache In My Heart (1958-2025)
Blues, R&B, Soul & Gospel Records Vol 315 (1951-2023)
Sunday, October 18, 2026
Rockabilly & Early Rock & Roll Vol 132
All About The Guys Vol 05 - Rockin' Daddy (1955-1966)
Blues, R&B, Soul & Gospel Records Vol 314 (1946-2023)
Wednesday, October 14, 2026
Bert Jansch - It Don't Bother Me (1965)
It Don't Bother Me is the second album by Scottish folk musician Bert Jansch, released in November 1965. The album features nine songs and two instrumentals composed by Jansch, as well as one by Alex Campbell "Been on the Road So Long" and the traditional "900 Miles". For this last track, Jansch accompanies himself on the banjo rather than the steel-string acoustic guitar which he uses elsewhere. "My Lover" has John Renbourn playing the lead acoustic guitar part. "Lucky Thirteen" is a guitar duet also with Renbourn, based on a song written by the latter and apparently recorded during the Bert and John session. "Tinkers Blues" and "The Wheel" are guitar instrumentals composed and performed by Jansch.
Track Listing:
02. Ring-A-Ding Bird
03. Tinker's Blues
04. Anti Apartheid
05. The Wheel
06. A Man I'd Rather Be
07. My Lover
08. It Don't Bother Me
09. Harvest Your Thought Of Love
10. Lucky Thirteen
11. As The Day Grows Longer Now
12. Been On The Road So Long
13. Want My Daddy Now
14. 900 Miles
Bert Jansch recorded his second album in 1965, just after his self-titled debut earlier that same year. The sessions were a step-up from the intimate, field-recording setting of his first album, although still not labored over too much in the studio.
"I figured that the faster I put down the tracks, the faster I could get out of the place," Jansch told NME, "so I just ordered about a dozen bottles of wine, put the microphone in front of me and off I went, for three hours."
The lyrics of It Don't Bother Me shift vividly between pure poetic imagery and the hollow resonance of pain. The LP's underrated title song stands as a manifesto for the way Jansch lived at the time. "My Lover," featuring guitarist John Renbourn, has almost sitar-like drones, while "Lucky Thirteen" is a captivating, melancholy instrumental that shimmers with brilliant fingerpicking.
Hillbilly & Country Vol 169 - Texas Special Vol 02
Started Out From Texas (1929-1993)
Blues, R&B, Soul & Gospel Records Vol 313 (1938-2023)
Sunday, October 11, 2026
Country, Pre-War & Acoustic Blues Vol 118
Guitar & Harmonica Duos Vol 01 - Good Morning Blues (1937-2025)
Blues, R&B, Soul & Gospel Records Vol 312 (1950-2023)
Wednesday, October 7, 2026
Jo Ann Kelly - Woman In (E)Motion (Live In Germany 1988)
Like Memphis Minnie before her, Jo Ann Kelly was the genuine article: a woman who could play the Blues as hard and deep as any man. Her rich, strong voice and authentic acoustic slide guitar work made her a big attraction on the British folk/blues circuit. Usually playing alone and sometimes singing 'a capella', she could convey her Blues like a Delta original.
Best Of Jazz Vol 130 - Strange Stuff Vol 01 - The Rubber Room (1967-2023)
Blues, R&B, Soul & Gospel Records Vol 311 (1959-2023)
Sunday, October 4, 2026
Soul Party Vol 122 - The Soul Gals Vol 01 - Wonderful One (1966-2025)
Blues, R&B, Soul & Gospel Records Vol 310 (1961-2023)
Thursday, October 1, 2026
Albums That Deserve Another Listen
Bert Jansch - Jack Orion (1966)
Jack Orion, Bert Jansch's third album, may have surprised some fans upon its 1966 release, as it features no original compositions by Jansch. While nearly all of the eight tracks (four of which include guitarist John Renbourn) are interpretations of traditional folk songs, Jansch's experimental approach breathes new life into this repertoire through his exploratory use of open tunings and passionate, gritty vocals.
According to Melody Maker, "his interpretations illuminate the songs from a completely new angle. As sung by him, with brilliant accompaniments, the brutal world that created the old ballads doesn't seem so very far off."
The ten-minute title song foreshadows the future through the past: with his sublime retelling of this dark tale of desire and revenge, Jansch embarks on a musical trajectory he would further develop with his group Pentangle. In "Black Water Side," a haunting ballad he first heard from Anne Briggs, Jansch plants the seeds for future versions by Led Zeppelin and Sandy Denny. Jack Orion's unique combination of medieval themes and progressive arrangements would pave the way for the next wave of the British folk revival and beyond.
Tracklist:
02 The First Time Ever I Saw Your Face
03 Jack Orion
04 The Gardener
05 Nottamun Town
06 Henry Martin
07 Black Water Side
08 Pretty Polly
Personnel:
Bert Jansch, guitar, vocals, and banjo on track 1.
John Renbourn, guitar on tracks 1, 3, 6 & 8.
One of the most important figures in contemporary British folk, Bert Jansch brought an unsurpassed combination of virtuosity and eclecticism to the acoustic guitar, both as a solo act and as a key member of Pentangle. Also a talented songwriter and vocalist, he wrote dark and sparse material that recalled the folky side of Donovan, though he was much less pop-oriented. Incorporating elements of blues, American folk, and British traditional music into his playing, his influence was not only immense in the British folk scene, it also extended to the rock world, both Neil Young and Jimmy Page, two electric guitar players who often turn to acoustic picking as well, have acknowledged Jansch as a major influence. Young went as far as to tell Guitar Player magazine that Jansch did for the acoustic guitar what Jimi Hendrix did for the electric.
Born in Scotland, Jansch vagabonded around the U.K. and Europe for a while before basing himself in London in the early '60s. He made an impact on the city's folk community not only with his guitar skills, but with his original songwriting, singing his own compositions at a time when Dylan was just beginning to make that practice widespread in folk circles. Friend and fellow folksinger Anne Briggs helped Jansch get a contract with Transatlantic, a small British folky label. Recorded on a single microphone and a borrowed guitar at Jansch's apartment, his first album immediately established him as a major force in British folk. Consisting almost entirely of original compositions, the brooding, plaintive songs showcased his dexterous fingerpicking. "Needle of Death," inspired by the heroin-related death of a friend, may still be his most famous composition.
Rockabilly & Early Rock & Roll Vol 131
All About The Chicks Vol 08 - Teenage Baby (1955-1964)
Blues, R&B, Soul & Gospel Records Vol 309 (1961-2021)
Sunday, September 27, 2026
Hillbilly & Country Vol 168 - The Carters, Cash & Friends Vol 05
Carter's Blues (1929-1996)
Blues, R&B, Soul & Gospel Records Vol 308 (1957-2023)
Thursday, September 24, 2026
Country, Pre-War & Acoustic Blues Vol 117
Juke Joints & Country Dances Vol 01 - Rag Mama Rag (1925-2011)
Blues, R&B, Soul & Gospel Records Vol 307 (1949-2023)
Sunday, September 20, 2026
Bob's Chat
Here's one more Davy Graham for you. This time his first recording, an EP titled 3/4 AD, also known as "The 1963 Topic EP", only three tracks, including his classic "Angi" plus a track with Alexis Korner helping out on guitar. The EP was released in early 1963, however the tracks date from sessions done around 1961-1962. This concludes Davy Graham for the time being, I do have more by him. and may post some down the line, but for now he's been well covered.
More great "Blues, R&B, Soul & Gospel" for you with Volume 306, with tracks from Clifton Chenier, Bo Diddley, Zakiya Hooker, Joe Simon, Buck Sinegal, Oscar Brown Jr., Eddie Bo, Belita Woods, and Ike Turner with his wonderful 1954 Modern recording "All The Blues All The Time". Ike sure knew his way around a guitar fretboard, as this masterpiece demonstrates.
And it's jazz time again. Here's "Women In Jazz Volume 11 - Black Orpheus" featuring a few well known artists like Carla Bley, Pat Britt, Jessica Williams, Carol Liebowitz, along with several other, up and coming, lesser-known female jazz musicians.
Davy Graham - 3/4 AD (The 1963 Topic EP)
Tracklist:
2. Davy's Train Blues
3. 3/4 AD (with Alexis Korner on guitar)
Released by Topic Records early 1963 from 1961/1962 sessions.
Tracklist & Highlights:
"Angi" (or "Anji"): Davy Graham's legendary instrumental composition. It became an absolute standard for fingerstyle guitarists, covered later by everyone from Bert Jansch to Paul Simon.
"Davy's Train Blues": Showcased his fluid, blues-infused flatpicking and rhythm.
"3/4 Ad": A collaborative track featuring Alexis Korner.
Best Of Jazz Vol 129 - Women In Jazz Vol 11
Black Orpheus (1976-2025)
Blues, R&B, Soul & Gospel Records Vol 306 (1954-2023)
Thursday, September 17, 2026
Soul Party Vol 121 - White Soul Singers Vol 01
Wake Up Alone (1962-2025)
Blues, R&B, Soul & Gospel Records Vol 305 (1933-2023)
Monday, September 14, 2026
Sunday, September 13, 2026
Bob's Chat
My last "Albums That Deserve Another Listen" - Davy Graham's 1965 album "Folk, Blues & Beyond" was well received, so here is his first LP "The Guitar Player", which was recorded in 1962 and released in 1963. Unlike his second album, on which Davy sang, this one is solely instrumental. I hope you all enjoy this outstanding record, he was certainly a very gifted musician.
It's Rockabilly & Early Rock & Roll time again, now up to Volume 130, with "Ain't Nothing Like Loving Volume 03 - My Girl". A total of 20 great tracks dated from 1953-1967 featuring Boyd Bennett, Fats Domino, Shirley & Lee, The Everly Brothers, Rusty York, Jimmy Gilmer, Jesse Lee Turner, The Platters, and several others. And of course these are all in flac.
Here's one more for you in the "Blues, R&B, Soul & Gospel Records". This is Volume 304, with tracks from 1939 through to 2023. Among the fine artists presented here are: Jimmy Rushing, Ramsey Lewis, Clara Ward, Arthur Alexander, Patti Parks & Johnny Rawls. Plus 3 of J.B. Hutto & His Hawks magnificent recordings for Chance Records in Chicago in 1954. The line up for these classic recordings was J.B. Hutto - guitar/vocals; George Mayweather - Harmonica; Joe Custom - Bass; and Eddie "Porkchop" Hines on washboard/drums. I love these rough, unpolished early Chicago blues. It must have been a buzz to have gone to some of those South Side blues clubs to watch bands like J.B. Hutto & His Hawks playing live.
As always my friends dig in and enjoy. Also don't forget to pop down to Bob's Cellar and have a look around. There's been lots of activity there recently with cabledogg2, Patrick, Nance and Spidey all sharing lots of goodies for you all. So look around, take what you like, and don't forget to take a few seconds to say thanks to the generous team for sharing their music with you.
Davy Graham - The Guitar Player (1963)
The Guitar Player was Davy Graham's first full-length LP, recorded in 1962 and issued on Pye Records Golden Guinea label in 1963.
This unique album combines his interesting and virtuoso guitar play with some excellent arrangements. With his guitar style he contributed to the musical changes in the early 1960s, where blues, rock and folk started to play a more prominent role in the music scene. The man crosses into blues, jazz, folk, Arabic music and more, often in the same song. It's an essential album and one of the greatest instrumental acoustic guitar records released in the 1960s. British guitar virtuoso Davy Graham inspired a multitude of artists such as Paul Simon, Jimmy Page and Eric Clapton. Combining different music genres, Graham proved to be one of the 20th century's most versatile guitarists and songwriters.
01. Don't Stop The Carnival
02. Sermonette
03. Take Five
04. How Long, How Long Blues
05. Sunset Eyes
06. Cry Me A River
07. The Ruby And The Pearl
08. Buffalo
09. Exodus
10. Yellow Bird
11. Blues For Betty
12. Hallelujah, I Love Her So
Davy Graham – guitar
Bobby Graham - drums
Note: Bobby Graham was an English session drummer and not related to Davy Graham.
Tracklist With Original Artists/Writers:
Don't Stop the Carnival - Written/recorded by Sonny Rollins (featured on his 1962 album What's New).
Sermonette - Written by Cannonball Adderley/Nat Adderley.
Take Five - Written by Paul Desmond (made famous by The Dave Brubeck Quartet).
How Long, How Long Blues - Traditional blues, written/popularized by Leroy Carr.
Sunset Eyes - Written by Teddy Edwards.
Cry Me a River - Written by Arthur Hamilton (popularized by Julie London).
The Ruby & the Pearl - Written by Jay Livingston and Ray Evans (popularized by Nat King Cole).
Buffalo - Traditional/attributed jazz-blues tune or original arrangement.
Exodus - Written by Ernest Gold (main theme from the film Exodus).
Yellow Bird - Based on the Haitian song "Choucoune".
Blues for Betty - Original composition by Davy Graham.
Hallelujah I Love Her So - Written by Ray Charles.
"I started to play the guitar about seven years ago, while I was still at school. Homework always gave in to music, so I was no genius. As soon as I got home, I would put on a blues record: Big Bill Broonzy, Blind Lemon Jefferson, Memphis Slim, Champion Jack Dupree and Muddy Waters and many others as well as modern jazz greats like Charlie Parker, Charlie Mingus and Thelonious Monk, who are still my favourites.
When I got tired of the city and a job suffocating in an office, I went to Paris and sang and played in the streets to cinema queues and up and down the French Riviera. I must admit I was very glad when I was invited to play in night clubs where I could put down the plectrum and play finger style as I still do. Every summer for three years I would break the chains of a job and leave for the continent, taking £5, the fare to Paris, freedom and the sun of the Cote d'Azur. When I came back to England in the winter of 1961, I started to get more regular work playing in folk song clubs, and got my first break playing as accompanist along with Alexis Korner for Shirley Abicair, the Australian folk singer on broadcasts for radio, a TV series and a concert at the Royal Festival Hall.
When people ask me what type of guitar I play, I usually say “Blues, bits and pieces”. The numbers on this album are a mixture of jazz and folk influences. I think that every number has its own particular mood. Before I play I don't know exactly what notes will come out, but I know the mood the number conjures up in me, so that on the framework of, say, a 12-bar blues with a slow tempo and a minor key, I can make the guitar cry by whining the strings.
On the other hand, for a calypso or fast rocking blues, I can use running single-line phrases with clipped notes to convey movement and excitement, filling in with block chords to keep the pulse of the number. For me, the richness of the guitar as a solo instrument, or an accompaniment to a singer lies in its many voices and moods.
For the last two years, I have been playing in Nick's diner near Earl's Court where I eat excellent steaks and am acquiring a taste for good wine and cigars. Over the past year I have made half a dozen solo TV appearances, though I love to play with a band. I have recently joined Alexis' “Blues Incorporated” and have a ball both playing, and watching the dancers. All is said now except that I sincerely hope you enjoy this record either to listen to, or as a background to good conversation." (Davy Graham 1963)
































