THE JEFF BECK BULLETIN ISSUE #14
Bass guitar (Jeff Beck) Tal Wilkenfeld, Jeff Beck, Rock His connection to the guitar is awe inspiring to see live, it's not the music flows directly from his soul. Posts about Jeff Beck written by Jerry. Tal Wilkenfeld, the female bassist who looks like a 12 year old, is also very good. . Another couple of minutes of guitar soloing would have made the song much more memorable. .. greatest guitarists of our time, my advice is simple: buy this and prepare to have your mind blown. -Jeff Beck- I've been bothered because the each person around gave me Pino, Vinnie, Jason are the true professionals, they know what to do without my advice. . The Stones had been staying in Rotterdam, Holland, in relations to tax. Jason Rebello on keyboards and the bassist Tal Wilkenfeld, who looked as if she .
This DVD is the only commercially available video of a whole Jeff Beck show and overall they did it up right. If you like Beck there is no doubt that you should get this DVD.
Help other customers find the most helpful reviews Was this review helpful to you? However, no other guitarist can create and generate such a plethora of otherworldy, sensitive and blistering sounds and tones with bare fingers and very few effects.
Review First off, let me start by saying that I am a huge Jeff Beck fan, but my affection is not clouded by blind adoration.
First, the obligatory compliments: Jeff plays with a depth of sensitivity that very few others in this genre can aspire to. His technique is simply jaw-dropping amazing. He dynamically bends and twists notes so that they flow more like those of a bowed, rather than a plucked instrument.
This gives a lyrical quality to his playing that is nearly vocal in effect. And, as always, his tone is immediately recognizable. Jeff, as usual, uses his vast talent and tool box of skills very effectively on several of the tunes here, focusing on emotional content rather than technical pyrotechnics to communicate with his audience. Unfortunately, just as he gets to the point where our ears expect to hear Jeff turn on the after-burner he pulls back.
Two tracks in particular follow this trend. This is a classic, bluesy song that has the potential to rip out your guts if done with real passion. Odd that it is so emotionally flat on an album intended to squeeze as much feeling as possible out of a song. Another couple of minutes of guitar soloing would have made the song much more memorable.
Lets face it, at just over 40 odd minutes there is plenty of room left to hold more. Why he close to trim even the best tracks to only 3 or 4 minutes is hard to understand. If more of these tunes had been developed into full-fledged, soul satisfying masterpieces, this might have been another Grammy nominee for him and a winner for his listeners. Bottom line is that if you are a fan, then you, of course, must own this album. Otherwise, pick-up any of the many other Jeff Beck albums if you want to really hear why he is so highly praised.
We learn about his friends in music, some of them, like Jimmy Page, lifetime collaborators, influences, and thorns in his side. That propelled me through the book. I discovered more than I ever knew about the artists and music that inspired and influenced Beck, and spent more money than I probably should have chasing down a lot of that music on iTunes, eBay, and Amazon.
Jeff spent much time building his beloved hot rods. That was the album that really made many elite fellow guitarists consider him to be one of the very best. By this time he was considered the greatest living guitarist by many of his elite fellow guitarists and several critics in the know. However, it was in when Jeff Beck finally regained his fan popularity. The band, venue and music were impeccable and DVD sales were fantastic.
Jeff Beck then had two ensuing wonderful World Tours that elated his enthralled audiences. There are gloriously performed live too! Jeff Beck is peerless because he masters hard rock, blues, jazz fusion, funk, techno, rockabilly, and psychedelic musical genres. He can create a galaxy of heavenly and sad sounds with just his bare fingers and guitar without relying on effects.
A personal note that the book omitted is the reality that for over 40 years Jeff Beck has been an animal lover who has taken care of hundreds of dogs and cats and many wildlife species. It proves that a mod, blistering and cool guitar paragon can also have a heart of gold. Excited by the possibilities of mixing jazz and rock i. Still, Blow By Blow, technically his first solo album, is at the very least a minor classic. Maybe he was doing drugs. Maybe he was just watching the world sink into decay and the old morals crumble.
And the board says: And Terry Bozzio is somewhat of a blessing — his drumming is awesome throughout, starting from the very first seconds of the title track. And this, combined with the fact that his guitar playing only keeps improving with the years, results in an album every bit as good as his fusion efforts and in some ways maybe better.
And check out how fine Hymas contributes to the ecstasy with his well-chosen delicious piano rolls, as Beck plays out his heart. Sorry, but Tony Hymas is no Brian Eno, after all: Your duty is to boogie!
What a great way to finish the album! This stuff really kicks butt! In all, I really like this album — maybe the last truly great Jeff Beck record in all.
No Jeff fan should be content without having it; and who knows, it might even convert a non-Jeff fan. And after all, whoever said we need vocals in rock? Some people actually prefer this one, but it all boils down to one important question: While the playing might be a bit more tight and compact, the overall mood of the record is much too monotonous and strained in order for you to patiently sit through it in one sitting. On here, the band mostly sticks to a cleverly thought out, but very uniform funky groove, recreating just about three or four melodies throughout the whole record with nothing to hold on to them: Whilst the cake presented to us here is definitely not an exquisite one.
This might have something to do with different factors. On Wired, he places all the songwriting in the hands of his half-inspired band members: Second, a significant factor in song arrangements has taken place: The keyboards are very prominent on the album: I'm not an idol star or a fashion model.
I can't be photographed smiling if there's nothing funny. In a photo studio for 4 hours and then "Hi, smile", I only have to be blue.
That must be when I might be in troubles with the record company for the guarantee! It's okay if the photographer tells me some jokes, but photographers are the kind of people that doesn't understand the sense of humor. Yesterday, Pino told me "Let's keep on our job together in the future".
But I want to have priority to finish Japanese tour successfully, then I will think about it. I have to arrange it again and again, but it's so special. I don't know how the new album's gonna be like after I would record 6 or more tunes, but it's sure that it's not going to be a rock and roll album laugh. The players for the album were not decided yet, but if my present band can make it good,we might go into the studios. I like the albums after "Who Else!
I have done what I could do in the electronic music. I will regard on mutual reactions between musicians in the next album, it will be more organic. But even though I tell you like that now, I can't say I will never do the electronic music or sampling in the future. I will decide what I record for the album, and I will record them in the early I will record them quickly in the studio, like they do in 's. After The Beatles, it's not strange to spend 3 months to record only one single, but I want to bring a mass of ideas, and release it while it's hot.
My new album might be in store in the first half of the next year. King Blues Club", which was available only on the internet, is now distributed in a general records store only in Japan. In the beginning, the album was not distributed in a general store to stop thriving the pirated files on the internet, I remember.
But the album, as a result, sounded like a bootleg! Is it related to playing inside the B. King's Blues Club, the hall that's smaller than you usually play? It was not fascinating ideas for me to play in the club, because I always play in the huge 65 feet stage, with a big PA. Playing in that club was something like getting back to the 60's. We have to reduce the show itself when we play in the club like that one. So we could not hear keyboards, and the sounds turned around in the soundcheck.
But the fans were already waiting around the club, we couldn't cancel the show. So we decided to do the same-scale show as we always do. Fortunately, we did the show for 2 days, 2nd day was better. We tried to get used to the unfamiliar circumstances on the 1st day. We could have handled if the differences were just a circumstances, but we could not get used to the sound of the club because we had been playing in 31 of big concert halls then.
Certainly the club was a great place, and the audiences were having fun, we were lucky. I love it because it's an well-balanced head-amp. It has a tolerance for noises.
We don't have to play with the full volume like we used to do, because the monitor system is much better today. JCM has a lot of variations in channels of Overdrives. This is a big difference from the old Marshall. It's good to have 2 channels. Fender Custom Shop model, white. Maybe the model. It's a Jeff Beck Model! And another Strato, and one more Strato, that has completely different tunings, to use in one tune. Preventing the guitar sounds from hiding behind the other sounds.
It's so hard to play beside the amps that has too much bass range. When I stand somewhere like that, I cannot catch a mid-range and a high-range. Certainly, I always want fat-sounds or thick-sounds. So I can never see a gig by the band whose guitarist makes just high-pitched sounds. And how do you control the knobs? But, basically, the amps' knobs are fully opened, and I control the sounds with the guitar's volume knobs and my fingerings.
Actually, it rarely happens to touch the amps on the stage, only when the troubles happen. All he does is to turn up the volume when I play a slow tune. I used the one with slanting panel which the knobs are on, and 4 of them stacked. In the studios, I used one of them.
The producer, George Martin didn't like the sound effects, so the sounds of the album was vivid.
I played a tune repeatedly, and recorded them. But at the time I was recording the demo, we could make too good recordings. So, in George's decision, we didn't re-record again. We just fixed some mistakes, they are almost the same as demo recordings. For example, we didn't overdubbed on "Freeway Jam". King Blues Club" album, "Scatterbrain" sounds well-distorted. The tune is a fast one, so I couldn't walk to the amps and touch the knobs, I couldn't do anything with it.
It's a gig, so I cannot say "I'm sorry, I'd like to change the setting and play it again" laugh. I thought that this happens because of your finger picking. But I don't remember well what I had played in the original version, so it can't be helped to be rough. The reason why I added this tune to the set-list was to feature Terry's performance. You can hear his drums solo a bit in the middle part? Towards the end of tune, you can hear Terry's going crazy laugh. At the end of the 50's, before the rock and roll became so big, I loved Chet Atkins and Merle Travis' style.
Their country style picking was not to play only one note or chord, but to play lower and higher strings freely with all of the right fingers. It was fascinating that they don't need no rhythm instruments. About this style, Merle Travis is still a model to me. But in these days, I use every fingers. Especially, I'm trying to use my little finger.
To do that, my expressions get wider, and if I don't care about that, little fingers are never used laugh. Long ago, I used to fight with the small amps to get louder in front of the audiences. Heavy Metal music was born from that kind of aggressions and frustrations, I guess. Then they could not get control of it, such a kind of style was born laugh. But I also play flexibly with my fingers. It's like playing a spanish guitar.
That's also the reason why I tune down a half note like Jimi Hendrix did. Formerly I used a set with. I drop the 6th strings to lower D to play some songs. In the show, however, I don't exchange my guitar, I drop only the 6th strings. I don't like to exchange many guitars. But soon I turn back to the Merle Travis style. I get hurt while I use a woodworking tool, and one time, I grabbed a steel that was burning red laugh.
If I care too much, I'd get hurt, so I'm trying not to care. What kind of training do you try usually? It's hard to explain because I don't care much about what I'm doing. I usually keep on playing till my partner tells me "Stop doing what you're doing! If I stopped two days, my friend feel it. And if I stopped more, the world will feel it. And it's a secret plan to concentrate on training that you shouldn't practice when you are in negative moods.
I want to hear about a possibility of the evolution of your guitar playing. Tricked sounds obviously have no future. I almost don't know nothing about the guitar, so it's worth to challenge. What do you care most when you record your guitar sounds to ProTools? You must not make it possible with ProTools more than what you can do yourself. But I respect David Torn's technique to change the guitar sounds to unidentified tone. ProTools has good side and bad side.
In popular music, a man without rhythm senses uses Protools to fill it. But when a man like David Torn uses it, then appears a world of sounds that you never heard.
That's what we could not imagine in 50's or 60's. Now the system I used is in my house, so I'm thinking of using it. I still haven't use it, but the setup is already done. I have a small demo studio in my house 10 years. I think I want to bring analog equipments in, like Studer and Ampex. I think I can make more pure and ambient sounds with those equipments and microphone than to use amp-simulators. You can see that the Motown's drums sounds are better than that of these era, it's the same thing.
Of course, you can find a wonderful tune in the techno music, but I don't like the sounds of pop-music that I can't help feeling "artificial". I leave everything to the engineer. They know how to do better than I do. During the recordings of "Jeff", we used Shure SM57, it was just hanging in front of the speaker, even without a stand.
And to get the room-sound, we used Neumann as overhead. It's a vocal microphone, but it's high quality, I like it. The feelings of the air is necessary for my guitar sounds.
To let a guitar sounds like a guitar, the moves of the air is necessary. Therefore, it cannot be done with only an on-microphone. Are you still always trying to invent another new techniques? Recently I'm trying to establish "Slap Chords", not a slap bass. Forming the chord with the left fingers, keeping the right middle finger straight, then curves it and hit the strings.
Jeff & Tal Perform 'Cause We've Ended as Lovers' - Jeff Beck
If I was lucky, I could get a fierce overtone. It's a very cool sound, like a compressor filtered Fender Rhodes. If you add the reverb on it, You can tell that it's a guitar sound. I'm, now, trying to make it mine, so that I can always do it when I try laugh.
I'm not going to use it a lot on the stage, but when I do it, you can recognize "Wow, this is it! I know him well. He came to my house with Jim Coply. We could not spend much time to jam, I was listning to him playing. It was just a jam, not a serious session, so we made no recordings. But we had a lot of funs. Char is a good guitarist. I want to make an album with a certain man.
Now I'm waiting for him to make a time for me. I can release it around the Christmas at the earliest, around February at the latest.
Jeff Beck and band burn bright
It's kind of what you never heard of. I have already completed one composition. Also completed one demo. I like it very much. I don't make it a rule to be secretive, but if I would tell you more about it, you cannot be surprised when you listened to it. So I will tell you anymore. A big guitarist Jeff Beck now on tour in Japan. He look back his 40 years music career-- "I want to do the show that looking back my 40 years music career, because my remastered albums are released now".
Jeff touring Japan now, he performs 10 shows in 6 cities. After 's he playing instrumental tunes but vocalist Jimmy Hall join in this tour. I am not always in the charts and not always have a popularity. I am always at a moderate position. I am lucky because I am able to do my thing". He joined the Yardbirds in He formed Jeff Beck Group in late 60's and developed his solo career. Blow By Blow is his masterpiece. He is not active in 90's but after released Who Else?
He have a plan of his new album. I already made the demo of Mahler: I really like it". Courtesy Ron Newcomer and www. With Jeff Beck giving Jimmy Hall the uncrowned title of world's greatest white rock singer in the previously mentioned Japenese interviews, we decided to ring Jimmy up at his Tennessee home for a chat. Obviously the first thing asked of Jimmy was if he was doing Jeff's forthcoming Tempe Music Festival gig.
He replied that he hadn't heard a thing from Jeff since he got a Christmas card. So we backtracked to last summer and his impressions of the highly successful Japenese tour. Even towards the end when he was focused on the wedding. I couldn't make the wedding because of other commitments.
Jeff was talking to Billy trying to get him to do play at the ceremony but Billy couldn't fit it in his schedule. She was like an old friend to have around. Jeff likes to talk to her about old times.
Jeff had heard it through Steve Barney who played him an acoustical version of it but in the end Jeff said he needed some more up tempo material. They would come up to me and say " Mr. Hall, when you gonna play "Love Will? However I left it at home. I remember playing it a little bit on "Love Will. Regarding his fantastic harp playing on the tour Jimmy remarked, " Jeff likes me to play harp.
It was lot's of fun on Goin Down.