At the Grammy Awards last February Jeff was bashfully unsettled at being prodded to the stage to co-accept the award for Herbie’s arrangement of “Imagine” along with Herbie and the other contributing artists. “I only played eight f&*%ng notes”…..Jeff said where in Hancock’s retort with an appreciative smile was “Yeah, man but those were the best eight notes”. Music fans have always cherished lines and notes they can remember, play in their head, and wait with anticipation as their turn comes round in the song being performed. Jeff took that from people like Les Paul, Scotty Moore, and Cliff Gallup , and transformed it into the little chirps and sounds we fans commonly refer to as “Beckisms.” Sure there’s always the place for the fastest gunslinger in the west. However Jeff has always chosen that path sparingly and wisely so that tunes like 'Scatterbrain' and 'Big Block' are always fresh, vigorous, and don’t become shop worn.
Steve Prior in the July issue of Vintage Guitar briefly and accurately refers to Jeff being able to ALWAYS sound like Jeff no matter what guitar is being played as this……"That's the greatness of the man - he can literally do anything. He could play the theme to 'Star Wars' on a whoopee cushion." The humor of the whoopee cushion is right up Jeff’s alley. It also allows the listener at times to relate to little inflected lines from other past artists and peers like 'Low Rider' done on this past tour and reverting back through the career catalogue 'Strangers In the Night’ and 'Groovin' among others. Yet when those lines are weaved into the performance they all sound like Jeff, as if the original tunes had indeed been written for him although we know they weren’t.
Lest this editorial ramble on for too long let this Editor add another description of Jeff Beck’s artistic genius I think we all can agree on in its’ simplicity………………….”Wonderful!”
Be seeing you.
After espousing how Jeff Beck was his favorite guitarist and loving being able to go out on the road with him, young Tyler Bryant turned and asked me, “Have you ever seen Jeff “lose it” on-stage?” I could sense that somehow Tyler wanted validation that Jeff was actually human and from this universe so I chuckled and told him about the Atlanta fall ‘75 show when the Blow By Blow tour continuation was sandwiched in between opener Aerosmith and The Faces with Rod Stewart. "Jeff’s Strat was feeding back almost uncontrollably. Jeff, obviously not happy at that moment and starting to look angrily around, was circumvented by a spread eagle diving guitar tech Al Dutton literally onto the sprawled stage floor on top of Jeff’s effects boxes. Always the showman, Jeff turned that negative into a crowd pleasing positive as he inverted his axe and pointed the headstock down at Al’s backside. The crowd knew Jeff’s upward look towards them was a Roman gesture thumbs up or thumbs down. The roar of approval was heard, Jeff feigned a couple of fatal blows, and spared Al for another day as he (Jeff) like always ripped back into a fierce solo keeping time with the rest of the band like nothing had ever happened." Tyler grinned at the story as if a huge weight was lifted from his mind.
That conversation is how the sound check ended for Tyler and his band of merry musicians at Villa 221 in Miami, Florida, Wednesday afternoon July 27th. The band retreated into the oversized green room to a feast of edible delights including Tyler’s favorite Coconut Juice. The band had arrived the day before in my town of Lauderdale by the Sea as a neighbor’s daughter is an executive for a beachside small resort Little Inn and put the boys up for a couple of days. A night before show dinner saw Tyler’s other six string guitarist, Graham Whitford, provides a comic thrill. He started shaking violently at the table and swatted his head uncontrollably. Gifted with an ample supply of curly locks, seems Graham was an inviting home for a tiny baby sparrow just looking for a place to call home.
After being buzzed by a summer shallow seeking Tarpon, Tyler was ready for both…….more ocean time relaxing and kicking some butt on the opening night of the Florida tour swing. After a brief stop to play with the vintage toys at Guitar Center Hallandale on the way to Miami, the band and their tour manager Jake Hartsfield pulled the SUV and trailer into the Villa 221 parking lot hidden away in the bustle of Downtown Miami. Bassist Calvin Webster recounted how the trailer had been rescued from the floods in Tennessee as it was being carried away by the raging flood waters.
I gave the crowd introduction to Tyler and the band to which Tyler exalted the crowd that it was quite the introduction and that the crowd should give me a hand. Relaxed by the intimacy of Villa 221 Tyler exclaimed during the show that it was like playing in their living room (to about 70 people) and they rarely get to do that. Everybody was into the rhythm of The Tyler Bryant band and their brand of what I describe as hard driving pop metal with memorable melodies, lyrics, and a high energy dose of Jeff’s young pupil Tyler Bryant who sends goose bumps on his own whether churning on his SG Special, bending on his Firebird, or tearing it up and gyrating on the Pink Cadillac Strat. Some softer originals were done by Tyler solo and with light accompaniment from either drummer Caleb Crosby or Calvin. Finally there were several band game interludes that were heartily chimed in by the rest of the group. Caleb Crosby gave a solo in your face in the middle of the audience from a single drum, drum supports, and the wooden Villa 221 floor! From Texas, Tyler had his own brand of Bull Riding 8 seconds as he gave both Graham, a Les Paul toting blues/rock prodigy of his own (and son of Brad Whitford of Aerosmith) Calvin, and Caleb their own 8 seconds to show what they could do and then the band roared into the most Who/Stones/Kinks feel of Tyler Bryant original “Big Time” which got them a standing O. So as not to let the audience forget where he came from, Tyler meshed in a little solo slow Jimmy Reed blues with the slashing Beck/Hendrix whammy thrashing climax of “Where I Want You” before ending the set only to do an encore as they would have had to run the gauntlet of the crowd to get away with less.
Go see Tyler Bryant and his band. You will leave with a smile on your face. Being of the social media generation he and his management have plenty of YouTube, Twitter, and video/news content at the homepage www.tylerbryantmusic.com. Most of all, go see Tyler open solo with his wah wah acoustic for Jeff Beck on the Canada and NW United States dates coming in October. We trust at the very least he will be joining Jeff and band for the soon to be re-released updated 2011 version of Sylvester Stewart’s (Sly Stone)”I Want To Take You Higher.”
Be seeing you.
When we heard about Martin Power's new biography of Jeff Beck, "Hot Wired Guitar" that is set for worldwide release the end of September 2011, we were of course eager for details. So, we dug up his email address, emailed him and Martin graciously replied.
Hi Dick Hope you're well. I was just finishing my e-mail to you when your name popped up in my Inbox! Apologies I'm coming back to you a little later than scheduled, but I wanted to run an idea past the publishers (more on that later) before providing full background/details on the book. Again, thanks for your patience. Here goes... To begin, I first approached Omnibus Press almost a decade ago regarding the possibility of writing a biography about Jeff. But timing, other projects and life in general meant that it only became a reality in the Autumn of 2010 when Chris Charlesworth - Omnibus' Editor In Chief and a long time Beck fan - gave it the green light. As you might imagine it's proved quite a challenge, led to at least one malfunctioning laptop, some lost e-mails and a wobbly file or two, but we got there in the end. As far as the book itself is concerned, it's come in at just shy of 500 pages (including Selected Discography) and will be released worldwide at the end of September. As Jeff has done so much over the years - and we wanted to honour that body of work as much as possible - 500 pages seemed just about the right length. On top of the words, there are also three large photo sections, with some rare pictures of Jeff dating from early 1963 to July 2011. The working title was 'Wire And The Wood', which I'm sure you'll know is an old phrase used to describe guitars. However, 'Hot Wired Guitar' appealed to the publishers more, so we've gone with that. By the way, on the matter of the cover image: Still under discussion, I think, though it might well change again - we'll see. With regard to the content/style of the biog, the onus is very much on Jeff's music. I really wanted to bring to the public's attention that - aside from being a phenomenally gifted guitarist - his contribution to Pop, Rock, Jazz, Psychedelica, World, Blues and just about every other musical form has been hugely influential. To me, bringing that fact home is incredibly important and honours the man appropriately. That said, 'Hot Wired Guitar' is also a story about Jeff's life and times - from a Rockabilly kid growing up in post-war Wallington to his rise to fame with The Yardbirds in the Swinging Sixties. From the blues rock bombast of JBG and BBA to the cooler tones of Blow By Blow and Wired. Flash, Guitar Shop, Crazy Legs, the 'Techno Trilogy’ and the recent, deserved success of both Emotion & Commotion and Rock ‘N’ Roll Party – It’s all in there. And, of course, no book about Jeff would be complete without dwelling on those guitars: the homemade 'Frankenstein', the Esquire, the Oxblood, the mad Jackson, 'Little Richard', right up to 'Anoushka' and beyond – each one has a place in Jeff’s story and its own story to tell. I was incredibly lucky with interviews for the project and talked with so many gifted people it's hard to know where to start. Former Yardbirds(and genuinely funny men) Chris Dreja and Jim McCarty were kind enough to give up their time and thoughts, as was Jeff's former manager Simon Napier-Bell, who I spoke with for a previous book. Stanley Clarke, Tony Smith, Simon Phillips, Doug Wimbish, Jimmy Hall (a true Southern gent), John Arrias and Michael Fennelly were also gracious, thoughtful interviewees. Even Jeff's old friends Roger Mayer and Mike Jopp were on hand to help, giving real insights into the teenaged Beck (plus Jimmy Page & Eric Clapton) - confirming that he's always been a planet-sized talent - even when he couldn't afford a real Strat! Of course, I mustn't forget two of the nicest guys I've ever had the pleasure to meet: Max Middleton and Mo Foster, both of whom I was fortunate enough to chat with over a glass or two of wine. More, I was able to talk to people who grew up in Fifties/Sixties Wallington and knew the area well: From the old bomb debris around Beddington Park to Jeff’s family home on Desmesne Road. Wandering around Mr. Beck's childhood haunts with that sort of help on hand was really useful, and has hopefully added some real flavour to the opening chapter of the book. In addition to these interviews, I could draw on the expertise not only of Chris Charlesworth, but also his editorial team (which included a JBG/Faces/Rod Stewart expert) to ensure I stayed on the right track. Equally, my research brought me to the British Library for several days, going through hundreds - if not thousands - of old music papers and magazines from the Sixties to the present - all of which further informed the book and threw up more Beck-related ephemera. When I add another hefty pile of magazines I accessed via my own files, there was a lot to get through (over 200 credits in all). I also visited your site and came across some new facts/articles completely unknown to me (the 2004 US tour set list/Jeff's visit to Corsica for 'Les Nuits de la Guitare', some stray catalogue numbers for the 'Discography' and the scans you made of Val Wilmer's old interviews with Jeff from 1967, etc.). This information helped greatly in filling in some blanks and I have prominently credited you and your contributors in the book's 'Acknowledgements' section. Hope that's OK. It's a fantastic site, Dick, one which you must be proud of and I'm genuinely thankful it's out there for Beck fans to explore. Of course, there were a number of people I didn't get to interview. Jimmy, Eric, Jan, Giorgio, Terry (to name but a few) and regrettably, Jeff himself. On the upside, there were also some prominent early players in the story who got in touch with me after I was finished writing the biog. While they could confirm my facts, sadly, I couldn't get their recorded contributions into the final text. Therefore, until the second print/soft cover next year, I have several interviews to hand but no place to publish them. With that in mind, I'm more than happy - and indeed, have the permission of my publisher - to give you selected extracts from these interviews for publication on your website. Hope that's of interest to you – after all, it's the least I could do - and the stories are all new, pre-Yardbirds stuff. If that works, just let me know, and I'll provide details. A couple of final points. As you'll understand from the above, like you, I have only the greatest respect for both Jeff and his work, and I'm keen 'Hot Wired Guitar' reflects that. As importantly, I've tried to be as accurate with the facts as possible. As an admirer of Mr. Beck's guitar playing and music for over 30 years, I owe him that and much more. In short, I've given it my best shot and I genuinely hope that people will enjoy the book. That's it. Apologies for the length of the e-mail, but I've tried to cover everything as best I can. If you need any more information, however, just let me know. From tomorrow I'm back at work on another assignment, so God Bless, thanks again for your help, support and interest and I hope to hear from you soon. M
About a week later we got another note from Martin....
Hope you're well - Now back at my desk again. Apologies on the late response to your e-mail, but as ever, things are still a little busy. Please God, it'll all settle down soon. Yes, Jeff has a great sense of humour - Very dry, very self-deprecating and very English. Of course, there are many examples of it throughout the biog, plus some cracking recollections of Jeff's humorous side from the likes of Chris, Jim, Simon NB, Max, Mo, Doug - All of the interviewees, actually. I won't ruin it for you by going into those recollections here, but make no mistake, Mr. Beck's love of a good joke is in there - right up to the last page!
Thanks Martin, looking forward to reading it. The book is available for pre-order at; barnesandnoble.com as well as amazon.com.
Be seeing you.
This past summer I had the pleasure of introducing Tyler Bryant to an audience as one of the few guitarists to have been privileged to share the stage with Jeff. Indeed there have been few in the role of equal stage billing/lead guitar solos but in compiling any list it pays to be complete. So I phoned up the good doctor Doc, Beckologist and baited him with the idea knowing that he would jump on it. I rattled off without thinking about it about eighteen or so. Doc quickly added a couple more and then wrote me back a bigger list. From that point on it became a game of one upsmanship with each of us sporting a parry on the other with a find or recollection also involving our mutual friend and Beck mega fan, Jim Cullen. Herewith is the list as it stands noting that Damon Johnson just was onstage with Jeff at the iHeart Festival. Also note that a few have made multi stage appearances with Jeff so we ve tried to keep those particular listings at the earliest decade that a joint appearance was made.
Please feel free to contact us here or Doc through the Multiply Site Link Guitarist's Guitarist to add as surely there are impromptu appearances especially in the UK and early career not yet cited. Here goes!
GUITAR PLAYERS THAT HAVE BEEN ON STAGE WITH JEFF BECK 1960 - 1969 John Owen (rhythm guitar in The Deltones) John Lucas (rhythm guitar in The Tridents) Chris Dreja Jimmy Page Buddy Guy Ron Wood Eric Clapton Jimi Hendrix 1970 - 1979 Bob Tench Mick Ronson John McLaughlin Rick Derringer Carlos Santana Neal Schon Steven Kindler Fernando Saunders Joe Perry Brad Whitford John Williams Barney Kessel John Renbourne Paco Pena Jim Cregan 1980 - 1989 Secret Policeman’s Ball rhythm player in 1981 Sting Les Paul Billy Squire Stevie Ray Vaughn Jimmie Vaughn Bob Dylan George Harrison John Fogerty Steve Lukather Kevin Osborn (Billy Squire's rhythm guitarist during Les Paul TV appearance) Vim Fuego (from Bad News) Nigel Planer (from Bad News) Robin Le Messurier 1990 - 1999 Slash Gilby Clarke (of Guns N Roses) B.B. King Albert Collins B.B. King's rhythm player at Apollo Hall of Fame Jennifer Batten 2000 - present Nile Rodgers Andy Fairweather-Low Charles Dennis (of B.B. King’s band) Billy Gibbons Doyle Bramhall Martin Taylor Jeff Foskett (of Brian Wilson Band) Probyn Gregory (of Brian Wilson Band) Nicky Walusko (of Brian Wilson Band) Zucchero Kirk Hammett James Hetfield John Mayer David Gilmour Kyle Bolden (of Stevie Wonder’s band) Errol Cooney (of Stevie Wonder’s band) Darrel Highham Brian Seltzer Jason Rebello Steve Prior (played 12 string on 'Beck's Bolero' offstage during 2009 tour) Pete Townshend Tyler Bryant Sharon Corr’s guitar player Robben Ford (guitarist for Patti Smith, Hendrix Meltdown Festival)
For even more info, here's a pdf document that Doc wrote that puts alot of this in context.
Be seeing you.
Jeff Beck and his band kicked off their three-week North American tour with a blistering show
at the Halifax Metro Centre on Wednesday night.
by Stephan Cooke
If they gave out medals for guitar heroism, Jeff Beck probably wouldn’t be able to stand up for the weight of them.
But neither the 67-year-old musician nor his considerable reputation needed to be propped up at the Halifax Metro Centre on Wednesday night. Both he and his band came prepared to play on the first date of a three-week North American tour, with a two-hour show that touched on most of the key periods of his post-Yardbirds career (if not all of the highlights) and for the most part lived up to opening act Tyler Bryant’s assertion that they would “melt our faces off.”
To that end, Beck came out with his guns blazing right off the bat, firing off a vigorous rat-a-tat-tat from his white Fender Strat on Plan B, freed from the electronic trappings of its original incarnation on 2003’s Jeff album. The guitarist pulled screaming runs and lightning-quick hammer-ons out of his bag of tricks, while drummer Narada Michael Walden brought the thunder of his bottom-heavy beat, before segueing into a loose funk rumble for Billy Cobham’s Stratus. As Walden drove the song towards its climax, Halifax-born bassist Rhonda Smith switched allegiance from her partner-in-rhythm to support keyboardist Jason Rebello (also pianist for Sting) while Beck let loose with perfectly pitched wails. On the song’s final beat, Walden hit his drums with such force that one of his sticks exploded, sending splinters across the back of the stage. Things were getting dangerous.
Two songs in and already my eardrums were exhausted, but in his black shades and sleeveless vest, Beck is cool and collected, grinning at the audience participation in adding a “Hey!” at the end of every riff in Led Boots, and leaning back as he winds down the band like a clockwork toy to merge the night’s oldest of his compositions, Rice Pudding from 1969’s Beck-Ola, into the soft muted tones of Mna Na Eireann (Women of Ireland), a Celtic-flavoured tune he recorded last year with Irish violinist Sharon Corr.
After the extremes of the loudest (Hammerhead) and quietest (Corpus Christi Carol) moments on his latest studio release Emotion & Commotion, again effortlessly switching gears from a monster groove into a moment of instrumental eloquence, Beck turned the stage over to Smith, announcing, “She was born in Halifax, let her kick your butt.”
And so she did, starting with high-pitched pops and creating a beat in the rattling of the strings against the frets of her bass, thumbing and plucking with an authority that was almost frightening. Her boss held his guitar aloft over his head in a “we’re not worthy” kind of gesture, and the audience of 3,000 was instantly on its feet. Clearly this was a homecoming that was long overdue.
Just as impressive as her work on the bottom end instrument was Smith’s vocal turn on Rollin’ and Tumblin’, one of the evening’s rare ventures into pure blues. Letting out a passionate guttural growl, her performance was a stew of sexual impulses, including the chunky riff she laid down over Walden’s tribal pounding, providing a sounding board for Beck’s instrumental expression of ecstasy, bouncing notes off the rhythm section with ever-increasing ardour.
Walden got in on the vocal action as well, singing with throaty soul on a version of Jimi Hendrix’s Little Wing. “For years I’ve steered clear of Jimi numbers . . . well, just because, but this one is such a strong part of my memories of Jimi,” said Beck in a rare aside to the audience before putting his own stamp on a ’60s classic with a solo purely his own, from the glowing vibrato to hammer-ons he could stop on a dime.
“Jeff, you’re the king!” hollered out one fan, but even this royal Fender bender felt the need to pay tribute to his peers, ending the main set with a dramatic interpretation of the Beatles’ A Day in the Life. Beck zeroed in on the song’s eerie undercurrent and building to a furious crescendo before slyly dropping to half-tempo for the “Woke up, got out of bed...” middle portion. Then, after dropping to a hush that had the crowd cheering, Beck and his band sounded like a symphony ascending to the song’s majestic final chord, which came crashing down as the audience rose to its feet.
The tributes continued into the encore, on a lighter note, with the guitarist strapping on a black Gibson Les Paul to pay homage to the name on the instrument in How High the Moon. Playing to a vocal track of singer Imelda May, Beck did not stray far from the path laid out by the late instrumentalist and inventor, but simply reveled in his sparkling composition for the sheer joy of it, recalling Paul’s burbling cascades while Rebello added rhythm guitar to the giddy classic. Logic dictated that the follow-up be Sly and the Family Stone’s I Wanna Take You Higher, springing from Walden’s pounding 4/4 beat and Smith’s chugging locomotive bass line, before Beck brought the heavens down to earth with the Puccini aria Nessun Dorma, the spiritual centre of his playing overcoming the cheesiness of Rebello’s synth strings.
“Bless your cotton Halifax socks,” beamed Beck before leaving the stage for the final time.
When he first came on stage, I couldn't tell if show opener Bryant had been picked for his musical ability or for his choice of haircuts, sporting a style similar to Beck's circa the Yardbirds' appearance in the 1968 snapshot of swinging London, Blow Up.
The young player from Honey Grove, Texas proved himself soon enough though, winning over his first Canadian audience with an overdriven acoustic guitar, a wah pedal, and the focused drive of a small-town rocker with big-city dreams.
“I’m not usually an acoustic player, my mama always said they were for cowboys,” grinned Bryant with an authentic sounding twang before tearing the hell out of that git-fiddle with bluesy arena rock numbers like Kick It and Gotta Have You, tunes lifted up from out of the ordinary by an endless reserve of Lone Star grit and gusto.
by Alain de Repentigny
With his sleeveless shirt under his black jacket, his hair of a young cock for 60 years and his rock star
silhouette of cryogenically frozen, Jeff Beck would look ridiculous if the musician in him was not yet in
67 years, ever boil. Saturday night at Wilfrid-Pelletier, Beck was exactly as we have seen for the first
time in the same place in the summer of 2009 and eight months later with his friend Eric Clapton at the
Bell Centre: a boy of few words who strikes a pose , who plays the guitar very talkative as a machine gun
and gives with equal pleasure in the fusion, funk, hard rock, rockabilly and more ethereal music.
This concert was at the crossroads of two previous, the more jazz-rock Jazz Festival and the other where he offered an orchestra of twenty musicians to give us songs from his latest album Emotion & Commotion.
But the English guitarist had us some pleasant surprises: Rice Pudding, from the album Beck-Ola (1969) and whose energy was intact rock; Little Wing by Jimi Hendrix, felt very, both faithful to the spirit of Jimi's friend but by its very Jeff Beck guitar solo, the joyful How High The Moon, a tribute to mentor Les Paul, but the female voice recorded clashed a little concert in the flesh, bone and sweat and, at the very end of the recall, nothing less than Bad Romance Lady Gaga, just for fun.
Jeff Beck really has nothing to his ordeal. The audience applauds the imaginative guitarist in total freedom, capable of an insane solo in Hammerhead. For him, everything looks easy and his comrades, staring at it as inviting them to do the same, farm fun, especially the muscular drummer Narada Michael Walden and bassist Rhonda Smith. The two of them even sing occasionally on his Little Wing, it's guttural voice of a Rollin 'and Tumblin' a little disheveled, then the two of I Want To Take You Higher keyboardist Jason Rebello where it prefers to deal own voice electronically with a Vocoder. When his turn to sing the success of Sly and the Family Stone, Beck let his guitar speak rather than to make us hear his golden voice ...
If he is serious, Jeff Beck cache very well. It takes a lot of nerve, or unconsciousness, to use Nessun dorma, the famous aria from the opera Turandot by Puccini. Yet without the orchestra that accompanied the Bell Centre and despite the syrupy synths Jason Rebello - particularly pervasive in the jazz-rock pieces - Beck is doing very well so his game is as poignant as it was still found in People Get Ready Curtis Mayfield - that Beck has brilliantly taken with Rod Stewart - A Day in the Life of the Beatles and the very beautiful Mna Na h'Éreann borrowed Chieftains.
Moments like these remind us that dramatically raises the guitarist crowds is also a sensitive interpreter.
*************************************************************
A year and a half after a performance with Eric Clapton at the Bell Centre, Jeff Beck is back tonight at the Salle
Wilfrid-Pelletier Montreal, where the welcomed for the first time in Jazz Festival 2009. The famous English guitarist
answers our questions.
Q: You return to Montreal for the third time in two years. You have taken a liking to the show?
A: My current group is one of the best I've had. Our styles complement each other and each brings a different dimension to the group. We feed off each other on stage. There is no rivalry between us and we have lots of fun. Narada (Michael Walden, drummer) is a locomotive and his playing is very energetic. Rhonda (Smith, bassist) is a musician with incredible talent who brings a vibration and a different look to the group. The audience is stunned when she plays. Jason (Rebello, keyboardist) is just fantastic and I count myself fortunate to have worked with him for years.
Q: Recently, in addition to the jazz-rock, you've hit the rockabilly to rhythm and blues and classical music. What will you do next?
A: I always like to change direction and surprise my fans ... I am working on a new album which I hope will be very surprising.
Q: What about your reunion with Rod Stewart? If it materializes, would it look like the Jeff Beck Group for 60 years? And what would be your biggest challenge?
A: We are just in a no man's land now. I recorded stuff in the studio with my band, Rod did the same with his musicians, but as he has just taken a two-year residency in Las Vegas, I do not know when we will find the time to to work together. Currently, our challenge is in our respective schedules.
Q: Imelda May, Imogen Heap, Joss Stone and Olivia Safe sang with you in recent years. What's in the voices of women complements your game in your music? Do you prefer singing to singers?
A: I have no real preference, but I like the singers who have raw talent and unique. For (the album) Emotion & Commotion, I chose three different singers. Imelda May has a pure voice, effortlessly, and I wanted to be heard. Joss Stone is a fantastic singer, a cross between Tina Turner and Janis Joplin, and when she sang I Put a Spell On You, I knew she was the artist to interpret any given There's No Other Me it endorsed and my game was complementary. Olivia Safe has a beautiful operatic voice that enhances the student orchestra and Elegy for Dunkirk.
Q: It was with you we discovered the bassist Tal Wilkenfeld in your group in 2009. What is she doing these days? Tell us about the Montreal reared Rhonda Smith who replaced her in your group.
A: Tal is working on her own album and other projects. We keep in touch. Rhonda is a unique artist, she plays and sings with such passion that the public reacts spontaneously. I deeply love playing with her and watch her go on stage. And when she is in the studio, she adds her own touch to recordings and is recognized immediately.
Q: You recently collaborated with Trombone Shorty. How was it?
A: What a musician! He has to be followed because it is someone who will go far in the world of music. He brings a whole new dimension to the trombone he has a cool instrument.
Q: What are the guitarists who have marked you?
A: There are so many but those who have influenced me in my early days are Les Paul, Cliff Gallup, Jimi Hendrix and Django Reinhardt.
Q: Are there young musicians who have impressed you recently?
A: Tyler Bryant, who plays the first part of my show is an excellent musician. It impressed me so much during our last tour I have invited back.
Q: Was it important to you that your album Emotion & Commotion won two Grammy Awards earlier this year?
A: It's always important to be recognized for what we do. Especially as Emotion & Commotion was my first new album in seven years and was different from my previous albums. I said it was my classical album with a different key. But in all honesty, the nominations were as important as the prize.
Q: You played God Save the Queen your way before a football game at Wembley last year. Did you have a thought for Jimi Hendrix? How the sporting public's reaction?
A: Of course, I had my "moment Hendrix." Standing in the middle of the field with so many people around, it's impossible to play God Save the Queen at the regular: you have to do something special for the attention of all those people. In addition, if you ask me to play something by the rules, be assured that I will break them. I think many were surprised spectators, but it went well.
Q: What can Montrealers expect of you and your group this time?
A: We like to do things differently and surprise the audience.
Fans at the sold-out NAC’s Southam Hall were promised a performance that would “melt your faces off,” and Jeff Beck delivered in true guitar god fashion.
Often lumped in with fellow British six-string deities Eric Clapton and Jimmy Page — the three starred in succession with The Yardbirds before graduating to iconic status — Beck was always more adventurous in the blues than Clapton, more technically adept than Page.
But the thing that defined Beck to his legion of guitar geek fans was his fat Fender Strat tone — thick as a brick with teeth that could bite through steel.
That was evident from the opening strains Sunday night, with Beck’s gleaming white Stratocaster striking a sharp contrast to his wiry, black-clad frame, his skintight jeans tucked into leather boots, shirtless beneath black pinstripe vest and necktie, craggy face mostly obscured by opaque shades under one of rock’s truly great shag haircuts.
Beck bobbed and weaved around the melodious opener, Plan B, shedding the electronic blips of the studio version — from 2003’s Jeff — in favour of a more organic backdrop provided by keyboardist Jason Rebello, Halifax-born bassist Rhonda Smith and drummer Narada Michael Walden.
He let loose on Billy Cobham’s funky Stratus, tapping the strings in time with Walden’s best impression of the bombastic fusion drummer.
On the concert’s most tender notes — an interpretation of The Chieftain’s Mna na h-Eireann (Women of Ireland) and Jeff Buckley’s Corpus Christi Carol — Beck coaxed the melodies from his guitar, bending and shaping harmonics with the grace and precision of an old master.
Best known for impressionistic renderings of his contemporaries, Beck travelled some diverse terrain with The Impressions’ People Get Ready, Muddy Waters’ Rollin’ and Tumblin’ — featuring Smith’s inspired growl — and a hauntingly pretty Somewhere Over the Rainbow, before paying tribute to the ultimate guitar god in a faithful reading of Jimi Hendrix’s Little Wing, with Walden capably handling vocal duties.
That set the stage for the show-stopping highlight, Beck’s Grammy-winning take on The Beatles’ A Day in the Life.
• • •
Early in his 30-minute opening set, Tyler Bryant, the Texas-born, Nashville-based young guitar whiz, predicted the performance from his
guitar hero that would “melt your faces off,” and he was right.
Bryant was no slouch himself pounding out dirty, guttural sounds from his sunburst acoustic that Guild never intended.
Opening with the dirty blues of Love You Like It’s the Last Time and The Good Life, Bryant apologized in a way for his weapon of choice for the tour.
“I don’t normally play these acoustic guitars because I always thought they were for cowboys,” he said. But when he learned he won an opening slot for Beck, he “ran up and down the halls screaming like a 12-year-old girl,” and when he learned the set would have to be acoustic, he promptly “went out and got myself an acoustic guitar.”
He was at his best on the Muddy Waters-inspired Shackles. “I feel like I’m playing in a living room up here, a really freaking big living room,” he joked. “And then Jeff Beck walks into your living room and melts your faces off.”
Last year acclaimed British guitarist Jeff Beck opened – and basically ran circles around – fellow axe man Eric Clapton at Toronto's Air Canada Centre, one of a handful of dates pairing the two former Yardbirds.
Tuesday night at a sold-out Massey Hall, Beck had nobody to one-up yet still showed there's a lot of creative fire burning in that 67-year-old, rail-thin belly of his.
For nearly two hours, the almost shy Beck – touring across Canada (and that includes Maritime stops) behind 2010's Emotion & Commotion – performed a near flawless set of genre-spanning signatures. Whether it was the blues that he would showcase on a foot stomping cover of Rollin' And Tumblin' or the mellow, romantic jazz-tinged Cause We've Ended As Lovers he dusted off three-quarters into the night, he's still pushing the envelope.
Part of his prowess is in part due to his seasoned supporting cast, one which seems to change quite often and forces him to be on his toes. The trio of keyboardist Jason Rebello, bassist (and Halifax native) Rhonda Smith and drummer Narada Michael Walden shone on the beefy Big Block off his critically acclaimed album Jeff Beck's Guitar Shop and especially on Stratus thanks to Smith and Walden's air tight rhythmic synergy.
Encouraging the crowd to show their enthusiasm on Led Boots, Beck played a tight, intricate array of notes before the edgier Rice Pudding had him breaking the song down before quickly bringing it back up. Yet rarely did the guitarist go over the top, allowing his trademark spacing between the notes resonate loudly on the delicate People Get Ready with its sweet high points.
“Thank you ladies and gentlemen,” Beck said prior to Smith having a bass solo in one of his longest audience addresses of the night. But when his nimble finger picking on songs like Hammerhead and a cover of Jimi Hendrix's Little Wing comes to the fore does he really need to say anything?
The lone miscue of the evening lasted only a few seconds with Rebello jumping a place in the song order before Beck shuffled over to tell him the error. A solid Brush With The Blues preceded a cinematic and majestic rendition of Over The Rainbow. However even these paled to the set-closing A Day In The Life, complete with the intense wall of sound build-up near its coda.
Returning for an encore, Beck had all standing for the funky anthem I Want To Take You Higher. Yet his one-two combination to wrap things up said far more about where he is heading than where he's been: a tasteful cover of the operatic Nessun Dorma and a stellar effort on Bad Romance.
Yes, Lady Gaga's Bad Romance.
Inspiring to see a man responsible for countless people picking up a guitar or air guitar refusing to rest on his laurels.
TORONTO SUN newspaper by Jason McNeil
1. Plan B 2. Stratus 3. Led Boots 4. Rice Pudding 5. Women of Ireland 6. Hammerhead 7. Corpus Christi Carol 8. Bass Solo 9. People Get Ready 10. You Never Know 11. Rollin' and Tumblin' 12. Big Block 13. Over the Rainbow 14. Little Wing 15. Cause We've Ended As Lovers 16. Brush with the Blues 17. A Day in the Life 18. How High the Moon 19. I Want to Take You Higher 20. Nessun Dorma 21. Bad Romance
It was a night to remember…
Jeff Beck in concert, Portland, Oregon.
By Doc
When I first became aware that my favorite musical artist was touring North America this fall, I immediately searched out to find out his itinerary. Much to my displeasure, there were no dates scheduled within striking distance of me. As a matter of fact the vast majority of them were in Canada and the remaining five dates were in the Pacific Northwest of the US, an area Jeff had not visited since the YOU HAD IT COMING Tour of 2001.
I then when into plotting mode. I have a very good friend that lives in Portland, Oregon, a gentleman that used to work for producer/writer/artist Babyface, and I knew that he was a huge Narada Michael Walden fan - so with assistance of Funkandjustice of the www.ainian.com Unofficial Jeff Beck website, Jeff Beck’s management was contacted and made aware the Docteur would like to see the Guv’nor on this tour.
They said “Yes’ and travel plans were made, flight booked, hotel reserved, comp tickets for 2 and backstage passes.
Portland, Oregon, October 29, 2011, Jeff Beck EMOTION & COMMOTION WORLD TOUR, it is on!
On Saturday I flew to Portland, and as they say, ‘The rest is history’, and history it was.
After a brief tour of Portland from my friend, we ventured down to the Arlene Schnitzer Theatre for The Performing Arts to find a parking spot. It seemed like we tried forever to find something near the venue that didn’t charge and arm and a leg. We saw the semi-trailer truck that carries the equipment and the two entertainment coaches (a/k/a tour buses), and after a final circle around the block a space became available right across from the semi-truck.
After parking we went to the truck and the buses and took a few pictures. This was a night I wanted captured from A to Z.
We then ventured to the box office’s will call window and indeed there were two tickets and two backstage passes there waiting for me.
We ventured into the theatre and perused the scene. The vendors were there selling the pricey Jeff Beck merchandise and people eating it up. Sales were brisk.
I knew in advance that the date was a virtual sellout, and the only tickets that became available at the last minute were the ones that Jeff’s management turned back in from the contractual comp ticket allocation (and that was only four I was told and they sold immediately).
I looked over the merchandise table, but there was really nothing new, so I didn’t acquire anything.
I was in the latrine and overheard some gents speculating as to who was Jeff’s bass player. They seemed to know that Vinnie Colaiuta was Sting’s tour drummer but were clueless in the bass department. The same gents were seated a few rows behind us as the theater doors opened and most people went to their seats at approximately 7:40PM PCT. (More on them later).
I first ventured to Ben Findlay, Jeff Beck’s sound man, who seemed startled to see me, and was kind of like, “What are you doing here in Portland?”. We chatted a bit and I asked him to save me my usual souvenir, the set list.
He told me they had been stingy with the set lists of late because there is always the threat that is gonna change. He did me one better - he showed me the computer programmed list of songs and their pre-sets and stated that I think they are gonna do “Freeway Jam” tonight because they had been rehearsing it lately and Jeff had teased with it the previous night in Seattle, Washington.
We the went to our seats to get ready for the opening act Tyler Bryant. Most Jeff Beck shows are very punctual, and this would follow suit as Bryant walked out at 8:01PM PCT and launched into his set. The 20 year old wunderkind was in for a few surprises on this night.
Mid-way into his opening number on his acoustic guitar, a string broke, and he seemed totally chagrinned by it. Jeff Beck guitar tech Steve Pryor came out and unwound the broken wire and pulled it off the axe. Bryant kept going.
He then switched to his second acoustic guitar for the second song. When it was time for the third number, Pryor came back out with the original acoustic guitar with its fresh string and righteously tuned perfectly. As soon as Bryant launched into the third song, a string broke - and he angrily sauntered away from the mic and left the stage and threw the guitar down after snatching the broken string off and was given his pink Strat by Pryor.
Tyler Bryant did his third selection on the electric axe and he ripped it up and the audience loved it and he got a mild standing ovation. Then Pryor re-appeared in the wings with the repaired box guitar and attempted to offer it to Bryant, but the young Nashville axe slinger asked the audience would they rather he play electric or acoustic, and the resounding majority screamed electric and the young guitar ace went postal on his axe with a fuselage of notes and licks much to the crowds delight.
Bryant did some very impressive blues riff and solos and really got the audience into him. He stated this was the first time he had ever played an electric guitar set without his band. He called it some You Tube type stuff. He was rewarded with a standing ovation by several in the crowd.
As promised, the gents that were in the bathroom were watching as the tech were setting up the stage for Jeff Beck and his band. They said, “Whoever the bass player is the strap is awful short”, LOL. Little did they know what was gonna happen to them a little bit later.
At 8:55PM PCT with no fan fare whatsoever, Jeff Beck, Narada Michael Walden, Rhonda Smith and Jason Rebello walked out and took their places as the strains of the pre-recorded sound nuances of “Plan B” filled the air.
The lighting was very low and misty and it took a few second for the crowd to realize what was going on, but as soon as the fella from Surrey, England started those familiar lines from his Grammy winning track “Plan B”,
Spontaneous yelps, whistles and claps were all around.
Dressed in light blues slacks with a sleeveless black shirt that was tucked in his trousers complete with the usual white ascot/scarf and bicep bracelet, casual black shoes, dark shades ala a rock star and immaculately feathered hair, this show was off and running. The audience response at the end of “Plan B” was a bit light, and I think this is because some people hadn’t quite registered with the fact that on stage here and now is Jeff Beck!
The next number got all the juices flowing indeed as the foursome roared through a tight and totally splendid version of the Billy Cobham gem “Stratus”. Jeff’s guitar solo was in its own galaxy and Narada simply put all other drummers in the universe to shame with his rolls, chops and rudiments. Beck constantly kept looking back in awe.
With little break in between they ripped into “Led Boots” from the WIRED album. This tune had plenty of fire from all four musicians and the audience yelled its approval in the sections where Jeff beckons people to cheer. The great thing about hearing Jeff d this live is to get to hear the drummer from the original recording play this. No one comes near the majesty that Walden puts into this song. As stated many times during this band’s touring, ‘they simply own this one’ live.
Next up was “Rice Pudding” from 1969’s BECK-OLA album with thunderous rhythm section of Walden/Smith lay down that groove so tight as Beck just went apeshi+ over it and soon it would morph into the totally beautiful “Mna… (Women of Ireland)” song that Jeff first played on the DREAM OF YOU album by Sharon Corr. This piece had the audience mesmerized as Jeff’s guitar tone and delivery was as the Brits say, ‘Spot on’. The sound balance and clarity of the p.a. system was incredible. The packed house in Portland gave forth the first full standing ovation after this selection, and was it deserved. Beck then did his wah-wah intro complete with a moment of Jimi Hendrix’
“Who Knows” thrown in and then a bombastic playing of the Grammy winning “Hammerhead”. Beck’s solo was the best I’ve heard him play on this song live of the six times I have been to EMOTION & COMMOTION tour dates.
Jeff walked to the mic and said, “Jeff Buckley sang a great song and since I can’t sing I am gonna try and play it for you”, and the haunting and peaceful “Corpus Christi Carol” followed. The audience response showed their approval. With no advance notice, immediately Rhonda Smith started running off notes on her bass guitar, and we knew hat was next - “Ronda’s Jam” a/k/a the bass solo. Let’s just say those earlier fellas were some of the loudest screamers of approval. Ms. Smith ripped the scalp off of the Schnitzer Hall. This was the best I had heard the bass solo segment of all the many shows on You Tube and the ones I had attended. At the end, this got the absolute biggest ovation and crowd roar of the night. The instrumental reading of the Curtis Mayfield classic “People Get Ready” followed, Highlight was a spirited piano break by Jason Rebello, whom this year makes his sixth year of being Jeff’s keyboard player. I might also note this song received a standing ovation from the audience also.
The fiery “You Never Know” from the THERE AND BACK album was next as Beck and Rebello held center court with a guitar versus synthesizer duel to be damned.
Walden supplied the ample portion of fusion chop drumming as the audience roared it approval to the battlers. Jeff then started his rockabilly riffing that eventually segued into “Rollin’ And Tumblin’”, Rhonda’s growls and vocal delivery were perfect on this. This song’s end was followed with another standing O, as would be the case for the rest of the night after each song. A totally tear the roof off the mother… reading of “Big Block” was next. There are no words to describe the chemistry between Beck and Walden on this one - they were locked like hand in glove and Smith’s bass was throbbing as this tune brought out the most screams and applause next to her bass feature. The full theatre was on its feet screaming and applauding before the cadenza at the tunes conclusion. The much needed calming element of “Over The Rainbow” followed. Jeff’s harmonics were working and the delicate touch he have for the on the melody notes were unmatched. Guitar tech Steve Pryor brought Jeff a different Strat for the powerful rendering of the Jimi Hendrix staple “Little Wing”. With the late guitar heroes sister, Janie Hendrix in attendance, it seemed fitting as Narada not only did a great job on the drumming chores, but delivered a good vocal on this song. Jeff’s guitar work made this his own. Makes one wish for a recorded version of the next Jeff Beck studio album. BLOW BY BLOW’s most famous track, the Stevie Wonder written “’Cause We’ve Ended As Lovers” was next. Rhonda played her stand up bass on this one and Jeff kept the same Star as played on “Little Wing”. Both Rebello and Beck gave very nice solos here.
Guitar switch to regular Strat and Jeff immediately started playing “Brush With The Blues”. Unlike some previous nights on the Canadian dates where she played stand up bass on this song, she switched back to her Fender bass guitar. Jeff took us through a lexicon riffs, runs, screams and blue notes as this tune showcased just why he is so regarded as a leading exponent of the electric guitar.
He then started to clumsily play the opening riffs of his Grammy winning rendition of The Beatles “A Day In The Life”, when he abruptly stopped, walked over to the mic and said, “This will be the last time you hear this. I will not play it on my next tour”, and then he replayed the intro, this time better and the band did a great rendering of this classic, Smith pulled off the Paul McCartney bass inflection in that transition section quite well. This concluded the regular set as the band intros were done, and the bows.
Screams, applause, stomping, hoots and hollers from the Portland throng brought quartet back out for 4 back to back encore selections: “How High The Moon” (with Jeff playing a Gibson Les Paul) and Rebello playing rhythm on a Fender Telecaster; the absolute funk driving crowd participation take on Sly and The Family Stone’s “I Want To Take You Higher” with vocals by Smith, Walden and the vocoder inflected Rebello (after the audience sing-along section led by Walden, of which Beck said, “Listen to him”) show opener Tyler Bryant came back out to do battle with Jeff in a back and forth head-cutting guitar duel, They both shredded, did speedy licks, and had the theatre going crazy; Beck then said, “This is where it gets risky” and the four great musicians did a powerful cover of Lady Gaga’s “Bad Romance”. The audience loved it and I might add stood for the entire 4 song encore onslaught.
The evening was finally brought to a close some 3 hours later with Puccini’s aria, Jeff’s Grammy winning cover of “Nessun Dorma”. It was poignant, emotional and a fitting close to a near flawless night of great music.
Beck introduced his band members and went and hugged Rhonda and held on to her as brought her over to the mic and displayed affection, admiration and compliments and she took the mic to do the same about him and extolled the audience to give it up for, “The one and only, the greatest Jeff Beck!”. I happen to agree with her.
Note: The security was very tight for recordings. Steve Pryor and several of Jeff’s staff members were looking for audience members that were recoding and would shine a light into their recording device and hop off the stage with security to make the person stop. There were ,any instances of this. I had never seen such an effort to stop bootlegs before.
Backstage with Jeff Beck and his band
Where: Portland, Oregon Oct. 29, 2011
Will call window at the Arlene Schnitzer Performing Arts was a treasure trove for me and my guest. In the envelope were two comp tickets, fifth row orchestra and literally dead center which provided extraordinarily close up and unobstructed views of the four immensely talented musicians: Jeff Beck, Narada Michael Walden, Rhonda Smith and Jason Rebello, as well as opening act Tyler Bryant.
After the last bows of Jeff Beck and his band after they had finished a sterling performance for some two hours complete with four encores, we sauntered up to the stage and looked at the equipment as the road crew began the task of disassembling it and packing up and getting ready to go to Santa Rosa, California. Steve Pryor, Jeff Beck’s long-time guitar tech, personally packed up all things Jeff Beck equipment-wise. We watched as he meticulously did it all from the effects pedals and gadgets to the cords to the two stacks of Marshalls. The guitars were first to go in their large anvil road case (except the special Strat that Jeff keeps with him at all times).
The door leading to backstage was audience left/stage right and we were just hanging around until we were escorted back. In all there were ten persons with backstage passes, one of which was Janie Hendrix, the late Jimi Hendrix’ sister, another was a friend of Jennifer Batten (who would have been there, but she was in Paris, France).
After what seemed to be about a thirty minute wait, we were escorted back by two security staff members of the Arlene Schnitzer Theatre, whom had been given the cue by Jeff Beck’s road manager. We were taken on what seemed like a long and winding road of steps, some up and down and all around down a hall way and eventually into a room where there were some remaining food and beverages. The fella that was Jennifer’s pal, helped himself to some of the pastries. Janie Hendrix and myself were escorted to the little boys and little girls rooms respectively (I had been needing to go forever, especially after drinking one of the nastiest fountain Pepsis I’ve tasted in my life (you all know the kind, where they need to change the tank really bad). Anyway I was hoping the Guv’nor didn’t come into the reception room until after I had come back from the latrine.
I made it back in time. The two little boys in the audience of ten had received Walden’s drum sticks, so they were really hyped as was their Mom. As with the concert, there was no fanfare as in strolled the maestro followed by his road manager, Narada Michael Walden, and Jason Rebello. A few minutes later, Rhonda Smith, Ben Findlay and Narada’s drum tech also entered. Jeff walked straight over to where I was standing. He said, “Alright boys” and looked around the room and continued, “And a few girls” with his typical laughter. We shook hands and hugged and I immediately told him I had some presents for him, and he said, “He has more gifts for me”. (Recalling Clearwater, Florida in May where I gave him the letter to the Rock And Roll Hall of Fame for his induction as a solo artist). He became very excited as I gave him the list I had compiled of all the guitar players that had played on stage with him from his first known gigs in the early-Sixties to the iHeart Music Festival where he was a featured member of Steven Tyler’s ad-hoc band). Jason Rebello was geeked by the list as well, exclaiming in excited voice, “He has me on there, I am on there for rhythm guitar”. As I was turning pages, Jeff was overriding me, turning back, and making sounds of joy, with, “Ooooooooo and awhhh, oh my God, how did you research this..this is great and it’s mine? I was like yeah Jeff it is your present. I told him that Dick Wyzanski helped me fill in a few gaps and that it had been fun compiling this. I reminded him of the first-time I met him in 1973 thanks to Carmine Appice and the list I had of all the Jeff Beck Groups.
Then some pics were taken and there small talk all over the place: I will recount in short bursts here…
Doc: Jeff going back to 1973, do you remember telling me about the guy that was there every night at Steve Paul’s Scene Club in NY that was recording you and your jams with Jimi Hendrix?
Jeff: “Oh yes, yes” (with a look of anguish), “I have never found him (and with an excited look) Do you know where he is?” (I shook my head no), Jeff Beck very animatedly said, “The only evidence of those jams was some guy took a picture of fucking Ronnie Wood, you know Ronnie, with Jimi, and he (Hendrix) was playing my Les Paul upside down”.
Note: A few things were left out as i do not feel them appropriate to reveal at this time.
Doc: I have to do my buddy a favor and ask this question for him - Dick (Wyzanski) wants to know on the climb in “’Cause We’ve Ended As Lovers” why…(Beck interrupts me and says)
Jeff: “I fucking hate Gmaj7, that’s why, and tell Dick fuck him” (With lots of laughter) and he continues, “Is he still in Florida?”
Doc: Yes.
At this point other guests were clamoring for some time with Jeff, so I talked to Narada, Rhonda and Jason for awhile.
Back to Jeff..
Doc: Are you going to tour in 2012?
Jeff: “Yes”
Doc: You must do all in your power to keep this band together. I have seen you live many times and this is the best live band you have ever had.
Jeff; “Wow, coming from you”
Doc: Ronda, oh my God she is incredible beyond belief.
Jeff: “She is lovely isn’t she. Great player and person.You have to give me credit I know how to pick great bass players”.
Jason: “What was that?
Jeff: (in louder voice) “I know how to pick bass players. I am the bass player picker!” (with laughter_
Doc: Promise me you will record some things with this band.
Jeff: “I will be in the studio soon.”
Someone in the room asked about the Rod Stewart project, Jeff says off in the distance, “What project?”
Doc: Jeff have you considered recording “Team Amerika”?
Jeff: “The cartoon movie?”, he asks with a look of bewilderment at my question
Doc: No Jeff, the song you all did a few times in Europe, even with the orchestra in London.
Jeff: Looking confused, “I don’t remember that one”, he pauses, “Oh, I should’ve recorded that you think?”
Doc: Yes Jeff, that was a nice number, like “Hurricane” and “Scottish One”, speaking of “Scottish One”, the Lady Gaga tune, “Bad Romance” you all do reminds me a but of that in some sections
(Jeff interrupts)
Jeff: “Oh yeah” and he starts humming a bit of “Scottish One” as he strums the air guitar, and he says, “Gaga had me in mind when she wrote that, it’s straight rock and roll”.
Narada then started calling Jeff to come over where he was, and Jeff said, “I am in the band” (with laughter)
Jennifer’s pal was then talking to Jeff about Ms. Batten and asked where was Sandra, and Jeff told him she stayed home on this tour.
Jeff was then ready to leave the room igging Narada with that impish grin he gives forth and then turned back to me and asks “Where is the book?” in a very serious look. His road manager reappears and assures Jeff he has taken it and put it up, and then Jeff gives me a final hug and goodbye and thanks me for the book and the Guv’nor promenades down the hallway to an awaiting van to enjoy the day off before heading to Santa Rosa, California.
I then go over in the huddle where Narada introduces me to Janie Hendrix and there is lots of conversation going on with Rhonda and Ms. Hendrix. Narada and I talk about mutual acquaintances, his solo album, how great they sounded tonight, an interview I set up for him with a British publication, Grammys and more.
Narada introduces me to his drum tech and then I chop it up with Jason.
I told Rhonda, Narada and Jason that they need to get in the studio with Jeff.
Then it was time to leave and on my way out of the theatre’s side exit I encountered Tyler Bryant, we recalled our first meeting in Clearwater, Florida in May, and then I passed along a personal message from Dick W. to Tyler. I also stuck my head in a tech room and bid my farewells to Ben, whom earlier had told me that he wished the tour could go on for another 30 days.
As we left the building there were several groupies and regular fans hanging outside wanting to know what it was like being back there with Jeff Beck.
My friend walked Janie Hendrix down the street to her car.
As he drove me back to my hotel we both exchanged stories of this encounter. He being a huge Narada fan and had never seen Jeff Beck live or any of them for that matter - was totally blown away, All he could say was, “Wow!”. He also became smitten with Rhonda Smith, LOL.
Only for Jeff Beck would I catch two planes coming and going to fly that far for a concert.
For me it was “wow” and then some.
I already can’t wait for the tour of 2012 with the late Spring and Summer festivals,
Much thanks to Jeff Beck, Narada Michael Walden, Jason Rebello, Rhonda Smith, Tyler Bryant, Ben Findlay and the astute management of Harvey Goldsmith, Serena, Peter et al.
*Note, I left out some details that I felt inappropriate to reveal
A classic rock n roll rebel line from the first slide blues then all hell break loose opening song , “Kick The Habit”, aptly describes the feeling you get when you finish listening to the all too brief but powerful raw honest in your face live style new Tyler Bryant and the Shakedown CD “From The Sandcastle.” …..”TOO MUCH AIN”T ENOUGH…..” Tyler screams referring to the holy trilogy of girls, cigarettes, and Rock n Roll! Then taking it out on his axe Tyler proudly forges his own unique fierce lead guitar on a combination of slide and wah wah that can only be described as Psychedelic Rock’n Blues……Shakedown style!
On the other James Dean style Rebel anthem on the CD, “Kickin”, Tyler proudly proclaims “Don’t tell me what to do ‘cause I won’t listen. Keep Kickin….”. Here Tyler builds his bridge solo bar after bar as the song levitates on to a higher plane and just when you think it’s cruising along with the Skynard airplane Freebird, Tyler turns on the jet fuel into warp drive again with creative use of the wah wah and waves his fingers up the frets to a finale crescendo of raw channeled frustration.
Like Jeff Beck, a main mentor, Tyler has absorbed many different sounds/styles into his performances. The blues influence is obvious. So is too the Rock/Heartland of America country crossover blend of a Tom Petty and the Heartbreakers. Tyler gives Tom a nod on Good Life, an infectious well crafted sing along. Oddly but explainable it is here that Tyler gives Jeff Beck the biggest send off on the CD. Slightly phased, well crafted, the solo climbs slowly with a pause to give the two finger back and forth wave on the frets as if it were 1968 and Jeff Beck was doing that very technique in front of a crowd, one of many little “tricks” as Jeff would call them that were very easy to play but have maximum effect on the audience. From there the solo reaches the peak with just the right touch of high vibrato as the chorus takes over again to wind down the song. If I had no idea who did that solo and someone played it to me……..it’s not out of the realm of possibility that I might think of Jeff.
While the Shakedown are built around rhythms to support Tyler Bryant, make no mistake that there are innumerable subtleties that make this a unique overall sound that Tyler might have a hard time duplicating with other players. Graham Whitford learned driving chopping rhythms and complimentary fills from his dad Brad no doubt. He is capable of driving Tyler to a higher level at any given moment. Several times on the record drummer Caleb Crosby uses the toms and bass drum much in the same ground breaking spirit to create the driving beat and wall of sound that Keith Moon did for the Who. Finally bassist Calvin Webster has that knack for synchronizing the bottom with the drums but at the same time having that one or two memorable bass lines from every song and for God sakes give it up for the sendoff to Ronnie Wood during his bass stint with the Jeff Beck Group when Calvin funkily tears into a really distorted slightly trebly interlude on “House That Jack Built”.
Two of the other seven strong tracks are “Say A Prayer” mix of different tempo vignettes within a song , and “Being Here”, a naked street country folk out front Tyler Bryant vocal. On the former yet another example of young plea rings out from a son looking to his mother for guidance in the wild wicked world “Your only child out in the wild. She’s got him down on his knees”. “Being Here” tips it’s hat to the classic Nashville scene complete with the image of a Speedy West or a Jimmy Bryant accentuating a good ole country boy plea.
The CD closes as it began with some impassioned back to the roots slide blues, “Shackles”, with the “outlaw” Tyler coming to terms with his imminent capture but vowing to fight till the end and “cut those Shackles”. The only thing I have to say at this point is redundant. “Too Much, Most Certainly, Ain’t Enough”!.
Be seeing you.
February 12, 2007
One of the Best Rock Photos You’ve Never Seen, Taken By a Local 39 Years Ago
Seriously, how I do love the Friends of Unfair Park. On January 29, I mentioned how Rolling Stone’s David Fricke had teased the magazine’s readers with the mention of a Jeff Beck Band bootleg made from a show at LuAnn’s on Greenville Ave. in 1968. Fricke had said it was out there, but not precisely where, sending me on a two-day-long wild goose chase that ended only when my pal and pediatrician, Chris Dreiling, found it here.
Anyway, long story short, yesterday I got an e-mail from one R.E. Barnes, who wanted to know how to get hold of the boot. More to the point, R.E. also said he was at the show and had photos to prove it. Well, those we had to see — at least one. So R.E. was kind enough to send an astounding picture — really, one of the best rock photos I have ever seen, never mind the photog’s pro or amateur status — along with a few anecdotes about shooting Beck, Rod Stewart and the rest of the fledgling legends. The photo, suitable for framing (in the Rock and Roll Hall of Fame) and the stories are after the jump. Oh, and a note to R.E.: A copy of the show’s on its way to you. Just shoot me your address. It’s the least we could do. –Robert Wilonsky
I saw the Jeff Beck Group in Dallas at a club called LuAnn’s in July ’68. Only 100 or so people were there, and I sat right behind a speaker at the side of the stage taking photos. Jeff stuck his tongue out at me at one point. I imagine he was getting tired of me taking so many photos. Rod Stewart had been greeted with a comment that he looked like Roger Daltrey. I doubt anyone would say the same now. Rod bent down between songs and was asking me about my 35mm camera. They weren’t that common in those days.
What a show that was. Ron Wood was on bass and Mickey Waller on drums. Jeff’s Les Paul, through his dual stack of Marshalls, was the most wonderful sound I had ever heard. I went out and bought a new gold top Les Paul when Gibson re-released them around that time. But for some reason I have never been able to sound as good as Jeff.
There has been a listing that the tape of this show is available for some time now, but I have unfortunately never come across it. It certainly was the most incredible show I ever saw.
This photo is from that show, I have given many of the photos away, though I still have the negs. Some were published in Jeff’s Book by Chris Hjort and also in Annette Carson’s bio of Jeff, Crazy Fingers.
Fresh from the release of a once in a lifetime classic female vocal cover rhythm n blues collaboration with former Jeff Beck 2006 tour singer interlude, Beth Hart, Joe Bonamassa continued his round the world hectic touring schedule with dates on the East Coast including a packed house at the Kravis Center in downtown West Palm Beach on Utes evening Nov 23rd.
I ran into Joe in back of the gig that afternoon as he was about ready to take off for an unescorted walk around complete with his trucker hat and flannel shirt. He looked so relaxed it was amazing. Just pior to our encounter he had shot a video inside of some of his classic guitar collection….He has over 350 vintage guitars!!!!!!!!!!
After the afternoon Meet and Greet which was unusually large due to the number of PBS packages pledged during the recent local PBS showing of Live at The Royal Albert Hall DVD with guest Eric Clapton, I took a look at the stage setup. A jokester, like Jeff, Joe or one of his crew had placed Joe Bonamassa bobble head dolls on top of all three of his Marshall stacks.
Sporting a new drummer this time around, Tal Bergman, Joe came on punctually at 8PM and weaved a dynamic mix of numbers from his current Number 1 blues LP and Classic Rock nominated LP of the year, Dust Bowl, and other classics from his past dozen years of solo lps. Always using many different guitars during performances all with equal virtuosity, my favorite twist of the night was the appearance of a double neck white Gibson SG, reminiscent of the red one Jimmy Page used at the ARMS shows in 83 to do a solo guitar version of Stairway To Heaven. That wasn’t lost on Joe who grinned as he walked up to the front of the stage with it and “tuned up” by doing the intro to Stairway. Then he tore into the meanest wildest version of Young Man Blues that would have had Pete Townshend shaking in his boots.
Unlike Joe’s previous drummer Bogey Boles, Tal Bergman not only was not shy, he was thunderous and played the audience with winks, hands clapping, sticks smashing together, and was ever so responsive to the soft to loud changes in the dynamics of the show. Bassist Carmine Rojas and Keyboardist Rick Mellick have the Rythym and timing down to perfection now having supported Joe for over five years.
Whether it was the total package presentation of John Henry (This was my one almost hit Joe quipped) the realization of the rendition of the century that has to be played every show, “Sloe Gin”, the stone cold tribute to RIP Gary Moore “Midnight Blues”, or the in your face dazzling acoustic virtuosity of Woke Up Dreaming, Joe Bonamassa proved he is still the hardest working best showman in the genre of blues rock and shows no signs of slowing down. Roy, his manager, when asked by me what was up with Joe just stared at me, shook his head, and said with a slight knowing grin “It’s going to be a BUSY year next year in 2012.”
Once again Joe closed the show to standing ovations from the packed house with ZZ Top’s “Just Got Paid” after teasing the crown with the Jeff Beck/Rod Stewart Truth intro to Howlin Wolf’s “Ain’t Superstitious”. During the solos he ran the gamut of Joe Bonamassa style slow blended into shred wails, Jimmy Page Dazed and Confused bends, and a time change blended into beat verse of Billy Cobham’s “Stratus” done Jeff Beck style.
My only hope now its that Joe takes some of his back catalogue of recorded tunes, never or rarely done live, and features them maybe in altered form to fit his show like “Prisoner” or The Last Matador of Bayonne” off “Dust Bowl” or the R&B classic “Stop” off John Henry (which he id on the Albert Hall DVD)
Joe Bonamassa is truly a guitarist and showman of our times. You’ll leave with a smile on your face and realized you were truly blessed to see one of the greats of our time. Go see him soon!