At least 300 full-moons ago, when living in Malmö (Malmoe), in the southerns of Sweden, I happened to borrow some written music for guitar made by John Renbourn. During this time I was very much into study the classical guitar and improve my sight-reading to new heights. I can never regret the procedure.
I found John Renbourns guitar music immediately interesting. Later I got copies of some more, but as a mother of fact, still in this day, I have not heard so many of them in recorded versions. So, and but, how it´s written on paper, can have the power of surviving. Like in the older classical music tradition, when there were no studios. No electricty. No Corn-Flakes. Touring took years, with boat, horse and wagon.
John Renbourn appeared to me broadly, through his pieces, of course with even greater links to folkmusic traditions. Comparing with other "modern" stuff written for the classical guitar, this was for me truly interesting beacuse of connections to classical from different ages, but also some blues/ popmusic of the time, and seemed mostly done with relatively freedom in form.
When I´m playing with right hand fingers, I usually do it on nylonstrings. I think most of the tunes were originally played on steel, "all people know" there´s a difference. So, I´ve practised them as nylonguitar tunes; Ladye Nothynges Toye Puffe, Lady and the Unicorn, Lady goes to church, A Day at the Seaside, ...., to mention some of the prints.
But it´s not only about tricky sologuitarplaying. It´s a must to study his accompaniaments in the songs., if you are to fingerpickin delights.
From John Renbourns Biography chapter one, I found in 2003;
"In Britain in the late fifties the musical craze was for "Skiffle", an amalgam of American folk, bluegrass and jugband styles. The big hit was "Freight Train" which drew attention to Elisabeth Cotten´s original, as well as to the work of such musicians as Leadbelly, Jesse Fuller, Josh White, Big Bill Broonzy, Brownie McGhee and Ramblin´ Jack Elliot. These players all came over to England and their guitar styles left a strong impression on a generation of young skifflers. As soon as I left school I went hitchhiking, and met up with others trying to play like them. Mac McCloud, Gerry Lockran, Mike Softly and Wizz Jones were already well on the way, and were all i awe of Davey Graham."
http://www.john-renbourn.com
