Wizz Jones Albums (4)
What The Critics Say
Recorded in 1998-2000 and initially released in 2001, Lucky the Man is a fine, low-key set of contemporary British folk from one of the men who set the foundations for the genre, Wizz Jones. Almost entirely acoustic, the focus is very much on Jones' singing and guitar playing. But he does get some help from some more celebrated friends on assorted tracks, including guitarist John Renbourn, Pentangle singer Jacqui McShee, drummer Gerry Conway, and original Incredible String Band member Clive Palmer. Jones never wrote much of his own material, to the point where including three of his own compositions, as he did on this record, is considered an abundance of original tunes. Otherwise the choice of songs is eclectic, including compositions by Palmer, Archie Fisher, fellow obscure British folkie Al Jones, Ray Charles, cult singer/songwriter Jackson C. Frank, bluesman Blind Boy Fuller, and jazzmen Jon Hendricks and Cannonball Adderley's "Sermonette." Whatever the genre the song was first associated with, however, it all comes out British folk, played dexterously, sung warmly, and executed with a catholicity of taste that encompasses jazz, blues, Appalachian music, and ragtime within a folk framework. Jones' recordings of the '60s and '70s will always be his most noted ones, as it was then as his profile and influence (such as they were) were at their peak, but this recording is just as listenable a showcase for his strong points as his vintage stuff. Originally released in limited numbers in 2001, the 2007 Hux reissue of the album adds five guitar-vocal-only bonus tracks from his mid-'80s album Grapes of Life, including a duet with Ramblin' Jack Elliott, "Sugar for Sugar." ~ Richie Unterberger, All Music Guide
What The Critics Say
Recorded in 1973 and reissued in 2007 with a slew of bonus tracks, When I Leave Berlin finds cult folk guitarist Wizz Jones in rude creative health -- easygoing performances and dryly gentle wit place him in a spot where his contemporaries would have been someone like Leo Kottke rather than Dan Fogelberg. Certainly his many admirers in his home country agreed, and guests include Lazy Farmer, who back him up on four songs, and Bert Jansch, who duets with Jones on the concluding track of the original album, the hilariously cutting "Freudian Slip." Said song is one of three originals featured, while the remainder cover standards and covers by fellow travelers such as Robin Williamson, whose "First Girl I Loved" is a perfect choice in its study of paths not taken, for Jones' wry though not downbeat singing style as much as for his excellent instrumental performances. Woody Guthrie's "Pastures of Plenty" is a standout, Lazy Farmer's understated backing, highlighted by John Bidwell's lovely flute work, turns Guthrie's Depression classic into an intriguing fusion of American West imagery and a bucolic rural England. Meantime, the Jones-written title track tackles a more recent event, a temporary opening of the Berlin Wall in 1972 for a literal two days that Jones witnessed; its upbeat pace, backed again by Lazy Farmer, belies the conflicting sentiments of joy and separation. Track for track Jones' talent is evident, his voice light but never strained or forced, his fingerpicking a precise, sparkling delight. The 2007 reissue is stellar, excellent sound complemented further by detailed liner notes and reminiscences from Jones, as well as six bonus cuts from the time period, all covers. Besides an alternate version of Alan Hull's "Winter Song," also featured on the album itself, selections include songs by Big Bill Broonzy and Lightnin' Hopkins. ~ Ned Raggett, All Music Guide
'The Village Thing Tapes'
Release Date 8/1/1992
Tracks 18
Label Wundertuet
See Album Tracklist and Review
What The Critics Say
The incredibly scarce output of this British folk revival guitarist is somewhat disparate by comparison to his contemporaries John Renbourn and Bert Jansch. Working in a similar pocket to the duo mentioned, Wizz Jones is highly regarded in the folk revival circuit with nods of due respect from Roy Harper and Ralph McTell over the years. With a couple of major releases a string of independent CDs, singles, and LPs, most of his releases are very hard to come by or are exchanged in collector circles for extraordinary high prices. This archival release from Germany features some variations on songs that are available on his two Scenescof releases and the Magical Flight LP recorded here live in concert. His fingerpicking guitar is absolutely golden, and his voice, which could sub for Burt Jansch on any night, is glorious. Fans of authentic folk and blues should definitely delve into the work of Wizz Jones; don't let the scarcity of this recording put you off. There are three readily available albums -- Magical Flight, Dazzling Stranger and Right Now -- which feature most of these tracks yet lack a special air of intimacy that this live recording holds. ~ Skip Jansen, All Music Guide
What The Critics Say
Though it was issued as late as 1972, Right Now reveals why, long before he ever recorded, Wizz Jones was one of the most revered guitarists and songwriters on the British folk scene, along with Michael Chapman, Bert Jansch, and John Renbourn; Jansch and Renbourn both produced and played on this album (sitar and harmonica). While Jones can claim none of the gorgeous electric guitar parts here -- Peter Berryman handled the electric Telecaster chores -- it's in the unreal, almost otherworldly acoustic guitar stylings where Jones' particular genius can be found. Like John Fahey, his North American counterpart, Jones' style is an amalgam of many very traditional musics: from Delta blues and early Anglo and Celtic minstrel cultures to classical Indian music and country music. On Right Now, he uses the guitar as a means to deliver 75 percent of the song's ability. There aren't any endlessly strummed tunes on this album; here nothing is ever static. From the down-home, minor-key, sitar- blues arrangement of Pete Seeger's "One Grain of Sand"; to the greasy, folk/funk of Alan Turnbridge's dark rant against L.A., "City of the Angels"; Jones' own songs, and those he collaborated on with Turnbridge, such as "The Raven," are full of tonal variations and quirky strangeness. "The Raven" is based on a 17th century melodic and lyrical framework, where the singer plays "call and response" with himself. The tonal variations bring the track -- and another, "No More Time to Try," -- into modal territory, and are made more possible by the use of a 12-string with a dodgy capo tuned to an open D. Also notable is Jones' jazzed-out reading of Seeger's arrangement of "American Land." The disc ends with another collaboration between Jones and Turnbridge: "Deep Water," a Gary Davis-styled ragtime blues song. The turnarounds at the bottom end are just astonishing. Unlike most of his contemporaries, Jones was gifted with a beautiful tenor singing voice, which gave him the legs to play in front of an audience and not apologize for anything. "Deep Water," besides being a great twin-guitar vehicle for Jones and Berryman, showcases the range and expressive qualities of Jones' singing voice. It closes the album on a high note, leaving the listener shocked at the array of music he/she has just been witness to, and wanting for more...much more. ~ Thom Jurek, All Music Guide
