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Entertainment WeeklyJansch's solo numbers make it clear that his nimble acoustic picking and rueful musings need no accompaniment. [20 Oct 2006, p.81]
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Though it's thinned with age, Jansch's voice has a warm, wizened tone that suits The Black Swan's introspective, emotionally naked material.
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He is writing and recording music that is profound, funny, topical, worldly, and ultimately, necessary.
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UncutEffectively picks and mixes from the Jansch stylebook. [Oct 2006, p.130]
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As profound as anything in his oeuvre.
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SpinHaunting. [Dec 2006, p.98]
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How lucky to be either a new or old fan, hearing Jansch at such a late age and in such a remarkable state.
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Surrounded by young artists, it's remarkable how well Jansch avoids buying into his myth. The kids add spirit without the avant tendencies of their regular gigs, and Jansch seems rightfully at ease and assured with this new band.
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Rolling StoneThe weathered enchantment of Jansch's voice and the feathery exactness of his playing are what lift The Black Swan close to the classic status of 1969's Birthday Blues and 1973's Moonshine. [2 Nov 2006, p.72]
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MagnetThe album is so unassuming and unhurried that it's easy to dismiss. Just hang in there and play it again. [#74, p.97]
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The New York TimesHere and there this record finds its comfortable center. [16 Oct 2006]
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Paste MagazineIt's on solo turns like "High Days"... that the elder statesman resounds much like... Bob Dylan recently did, stymieing a new generation with his continued craftsmanship. [Dec 2006, p.93]
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