Chet Baker - Divirta-se em Uma Hora e Meia The Best Of Chet Baker e Boa Semana

Les Corvettes Freak Lounge, João Gilberto e Tim Maia.... tudo a ver às avessas. Três Classics de seus concorridos Shows no verão de Florianópolis e... dois cancelados por questões alheias ao dueto... Até breve e antes de Saint Tropez, Jean Le Pins e Minorca no Verão Europeu! Enquanto isso, matéria no Cangablog e Steve Vai em homenagem ao duo!

QUINTA-FEIRA, 9 DE FEVEREIRO DE 2012

SHOW CANCELADO

O pocket show que Les Corvettes Freak Lounge fariam hoje, 09/02, no sótão da Kibelândia, Centro de Florianópolis, foi cancelado. A proprietária foi surpreendida por agentes do ECAD que lhe entregaram um prospecto com diversas advertências sobre documentação e forma de recolhimento de emolumentos referentes ao Direito Autoral.
    Apesar da música dos Les Corvettes ser própria, a casa preferiu esclarecer se a exigência se aplica. Já os músicos afirmaram "Amanhã vamos tentar descobrir como recolher direitos autorais para nós mesmos, uma vez que nossa música é instrumental e autoral. Marbella, Ibiza e Minorca que o digam. Jean Le Pin e Saint Tropez também. Até breve em nova data."Enquanto isso, outros corvos sobrevoam a área!

Isso sim é world music - SATCHITA tocada por músicos de todo o mundo

Another one - IMPOSSIBLE Guitar II - 1o. vídeo uma merhda de enganação. O 2o. a M não muda muito de lugar com um brasileiro MONSTRUOSAMENTE fritador moendo Bumble Bee (Key Marcello do Europe tocando o mesmo tema é mais divertido)

Impossible Guitar? Uma dentre as várias performances de excelentes músicos espalhados no planeta registrados no iutúbio

Recorded on January 19, 2011 using a Flip Video camcorder. Ha-Shem the first Grand Concert Harp Guitar in the world. Designed by Esteban Antonio. a major revolution in the advancement of the guitar since 1880 combining plucked and bowing techniques, creating a completely new sound. Built by Kif Wood

O "Som" que sai das mesas dos DJs de regra é uma bosta composta de baixo e batera de repetitivo mau gosto. Pior, quando o arremate vem em forma de "sertanejo universitário" e "pagode de boutique"

Mi perro loco e senil levou-nos, eu e o musico e engenheiro de som Jam Walker em um famoso mix de bar descolado com Beach Club, localizado no badalado Norte / Leste da Ilha (relevem alguns problemas de acentuação do meu PC), No caminho, para conhecer o espaço onde vamos tocar um set modernoso/contemporâneo, estilo Maiorca-Ibiza-St Tropez, entre as evoladas psicodélicas dos adeptos, fizemos uma breve pesquisa de material apropriado para nosso duo COOLcoroK & CoCOOlrocka, composto por um Baixão pesado pilotado pelo Jam W e a sobreposição de riffs de guitarra poderosos e velozes pelo signatário (modesto) em jumps, loops and grooves - ou o que seja isso para os leigos.

 Assim, na muvuca de cds espalhados no Bugatti (phodam-se os invejosos, eh assim que chamo minha Kombi) redescobrimos alguns temas raros, nascidos nos primórdios dessa tendencia, que se at é  teve um inicio promissor com os belos discos cosmopolitas do Buddha Bar parisiense e seu clone de verão na Cote D'Azur, com excelentes participação de protagonistas da zona mediterrânea (Europa Africa e Asia Menor - Península da Ásia Ocidental conhecida por península da Anatólia, situada entre o mar Negro e o mar Mediterrâneo), o processo infaustamente descambou para a imbecilização que alguns chamam hoje de musica. As raves tornaram-se o oásis de sniffers insones. Emerge, então, com mais e mais vigor a mediocridade hoje reinante, apesar de dois ou três pratos, da alta tecnologia, high fidelity e dezenas de milhares de musicas aa disposição. Ha material suficiente para o mais imbecil dos DJs mixar minimamente com bom gosto e noção de campo harmônico. Talvez seja pedir demais. Limitam-se, na maior parte do tempo, a montar um set prévio com batidas que alternam o frio ao quente, o rápido ao lento, drum & bass repetitivos. E a turba, todos e todas, ficam com uma mãozinha pra cima e a cabeça meio inclinada lateralmente pra baixo balançando num sicronismo árido de criatividade e pobreza estética alarmante. Tico e Teco esbarram-se por horas a fio, e movidos a balinhas e que tais, regadas por água ou por champas (a intimidade da galera que emula os news richs  é  abespinhante quando se trata de alcunhar os modismos da hora). Pois, descubro na Kombi, digo na Bugatti, o CD que encabecou algumas das mais respeitadas listas (se alguma pode ser assim considerada) dos melhores de ... 2008. Assista e diga o que você acha... e também, aproveite e descubra alguma diferença nesses últimos 5 anos... Na volta a assepsia foi feita por Buckethead! 

'Adoraria tocar com Neil Young', diz Chris Cornell sobre show no SWU

01/11/2011 08h00 - Atualizado em 01/11/2011 08h51

Cantor fará apresentação acústica no festival no próximo dia 13.

Performance intimista terá canções do Soundgarden e Audioslave.

Henrique PortoDo G1 RJ

Comente agora

O músico e compositor Chris Cornell (Foto:
Divulgação)

Quase 11 anos depois da memorável apresentação na terceira edição nacional do Rock in Rio, o canadense Neil Young volta ao Brasil este mês para o SWU Music and Arts Festival 2011. Mas o músico, conhecido por canções como "Rockin' in the free world", "Ohio" e "Hey hey, my my (Into the Black)", participará do festival paulista apenas como palestrante em um dos painéis do Fórum Global de Sustentabilidade. Frustrado com a notícia, o cantor Chris Cornell, vocalista do Soundgarden e fã incondicional de Young, vai tentar mudar esta história.

"Não sei se vou conseguir convidá-lo a tempo, mas adoraria tê-lo no meu show. Seria realmente maravilhoso poder tocar algo com Neil Young", comentou o cantor, que se apresenta no festival em 13 de novembro, às 18h30, no Palco Consciência.

Habituado aos altos decibéis das bandas Temple of the Dog e Audioslave, onde também foi cantor, desta vez Chris subirá ao palco para um show acústico acompanhado apenas por Alain Johannes — que tocou no SWU em 2010 com o Queens of the Stone Age. O formato, ele explica, dá mais liberdade para alterações repentinas de repertório e eventuais participações ilustres de última hora.

"O esquema 'voz e violão' permite essa intimidade e me dá a oportunidade de rever a carreira. Posso tocar canções das minhas ex-bandas ou qualquer cover que me vier à cabeça. Por conta disso, este é definitivamente o período mais feliz da minha vida no aspecto artístico", disse o músico, por telefone, ao G1.

No próximo dia 21, chega às lojas norte-americanas seu novo álbum solo, "Songbook". Gravado ao vivo, o CD é justamente uma amostra desta proposta — quatro canções podem ser ouvidas no site Sound Cloud, em streaming. Ao comentar sobre o trabalho, que além das versões pessoais para os hits de seus antigos grupos, contará com covers de John Lennon e Led Zeppelin, Cornell faz uma reflexão sobre seus mais de 20 anos de estrada e coloca o nome de Neil Young na roda novamente.

"Depois de décadas de trabalho, acho que músicos de rock deveriam pensar em expandir e ramificar a própria carreira. Neste aspecto, Neil Young é um grande exemplo. Já tocou com Booker T. & The MG's, Crazy Horse e Pearl Jam como bandas de apoio. De vez em quando, faz apresentações solo apenas ao violão. E, seu último disco de estúdio, 'Le noise', é um dos melhores álbuns que ouvi ultimamente. Isso tudo é muito inspirador para mim", reconhece o cantor.

Gritos e cartazes
No último mês de julho, Chris esteve reunido com os ex-companheiros de Soundgarden, o baterista Matt Cameron (que também toca com o Pearl Jam), o guitarrista Kim Thayil e o baixista Ben Shepherd, para uma breve turnê pelo Canadá e pelos Estados Unidos. O reencontro passou longe do saudosismo barato e oxigenou a criatividade do cantor, como ele próprio fez questão de destacar.

Capa do novo álbum de Chris Cornell, 'Songbook'
(Foto: Divulgação)

"É uma banda muito eclética, consegue transitar por vários territórios musicais. Qualquer artista que for capaz de compor músicas como "Jesus Christ pose" e, de repente, mudar a direção para algo do porte de "Black hole sun" ou "Zero chance" é ótimo. É uma força criativa que vai além do uso de uma fórmula para ganhar público", afirmou.

Aos fãs brasileiros, a quem chama de "calorosos" e "inesquecíveis", manda um recado: "Às vezes, acabo tocando músicas sugeridas pela plateia. Portanto, levem cartazes ou gritem bem alto, para que eu consiga ouvir", brinca o músico, que se apresentou no Brasil em 2007. "Esse tipo de coisa tira a previsibilidade de uma performance ao vivo. E é muito divertido".

Veja o repertório completo do novo álbum de Chris Cornell, "Songbook":

1 - "As hope and promise fade"
2 - "Scar on the sky"
3 - "Call me a dog"
4 - "Ground zero"
5 - "Can't change me"
6 - "I am the highway"
7 - "Thank you"
8 - "Cleaning my gun"
9 - "Wide awake"
10 - "Fell on black days"
11 - "All night thing"
12 - "Doesn't remind me"
13 - "Like a stone"
14 - "Black hole sun"
15 - "Imagine"
16 - "The keeper"

the BLUEGRASS Special - Listen to the jingle, the rumble and the roar

HomeContentsReviewsBeyond The BlueGospel SetNews & NotesVideo FileArchiveLinks

And Then There Was Surf Music!
In 1961 surfers went from being a handful of young wave-riding enthusiasts to a full-blown social movement with a look, an attitude, and a music of its own.

By Paul Johnson

In Southern California in the early ‘60s, some way-cool surfer/musician dudes thought it would be really boss to invent some sounds to go along with surfing; so they figured out how to do it, and then all the cool surfer kids had a big party on the beach that lasted for several years. The Beach Boys were there every day they weren’t busy recording more hits; so were Jan & Dean and the Surfaris. Frankie & Annette were there too—twisting on the sand as Dick Dale played on and on and on...

...Wrong!!

The bad news (for those who cherish the “California myth”) is that this ain’t the way it happened; but the good news is that the way it really happened was better. Much better!

As one who was there in the eye of the storm through the whole incredible experience, I get bugged with the pop-media’s cornball caricature of what was, in reality, one of America’s genuine regional folk-movements. Authentic surf music (to be described herein) was just as soulful and meaningful to those who were there as was Motown for Detroit or reggae for Jamaica. It was California’s own version of the larger rock-instrumental genre, which served as a vital musical link between the early rock ‘n’ roll heyday (Elvis, Little Richard, Chuck Berry...) and the later one (Dylan, the Beatles, the Stones...) during a time that was otherwise pretty bland.

How It Really Began

As the ‘50s came to an end, there was no such thing as the “California surf culture” as we know it today. Southern California had no clue as to what was about to happen there. The beach was just a nice place to go for some sun and a swim; kids would rather be cruising the boulevards that stretched out in all directions over the L.A. basin. They hung out at the ice cream and root beer stands and danced at sock hops to doo-wop and rockabilly records; live music was a rarity. The reigning cultural hero was still that remnant of ‘50s coolness, the “ho-dad” (i.e., the Fonz on Happy Days).

Surfing was for the few rugged collegiate-types who were strong enough to haul the massive boards of that day down to the water. And as the beaches were then the turf of the beatniks, it also had a bohemian connotation; accordingly, modern jazz and bongo drums fit the surfing image of that day better than electric guitars.

But subtle changes were afoot that would soon alter the entire picture: lightweight foam surfboards were introduced, making the sport more accessible to the masses; the new transistor radio allowed kids to gather on the beaches rather than the boulevards without having to leave their beloved music behind; and the 1959 film Gidget portrayed the vagabond life of the surfer as the very sort of romantic fantasy a teenager would love to escape to.

By the summer of ‘61, evidence of a new trend abounded: legions of kids embraced the sport and all the new styles, mannerisms and slang that grew up around it. The new “surfers” had arrived!

And purely by coincidence (not by design), an unrelated trend that had been growing on a different front was fated to stumble into a chance alliance with the new surfers: a few young musicians in the area were busy emulating the sounds of their heroes, the rock-instrumental bands of the late ‘50s—Duane Eddy, Link Wray, the Fireballs, Johnny & the Hurricanes, etc.—and forming bands of their own based on these dynamic all-instrumental stylings.

The fateful moment was the fabulous summer of ‘61, when these trends emerged simultaneously onto the scene. It was then that my band, the Belairs, having just cut our record, “Mr. Moto,” set out to gain a following. We were just kids (not seasoned surfers) but we did hang out at L.A.’s South Bay beaches; it was only natural that as we began throwing dances that summer, it was the local surfers who comprised the bulk of our audience.

What followed was a bona fide cultural explosion; we threw five dances, and each successive one doubled in attendance, forcing us to rent larger and larger halls. Our first dance drew about 200, and our last one brought in over 1500 of the new surfers, who by then were identified by long sunbleached hair, brown bodies, “surf knots” on the knees and feet, and huarache sandals (which they used to stomp on the hardwood floor, thus creating the dance that became their tribal ritual).

Dick Dale & The Del Tones perform ‘Misirlou’ in the 1963 film A Swingin’ Affair. ‘…solid R&B-tinged tunes, mostly instrumentals, that stood by themselves without any self-conscious reference to surfing.’

Meanwhile, Dick Dale & the Deltones were holding similar court about 30 miles south of us at the Rendezvous Ballroom in Balboa. Suddenly that summer the thing exploded all over Southern California; the surfers went from being a handful of young wave-riding enthusiasts to a full-blown social movement with a look, an attitude, and now a music of its own.

So who deserves the credit for “inventing” surf music? Obviously, it could not have occurred without the musicians; but the bulk of the credit should go to the surfers themselves. For contrary to the popular myth, no musician could have planned this; it was a classic accident of history—a chance alliance, due largely to the affection the surfers held for the music. A prominent local said to me at one of our first dances, “Wow, man—your music sounds just like it feels out on a wave! You oughta call it ‘surf’ music,’ man!” Another said, “You guys oughta make a record and call it the ‘Surfer Stomp!’” These comments went right by me, as I had never made any such association in my mind.

Nor had any other musician, to my knowledge. Upon making my own pilgrimage to see Dick Dale that summer, I was dazzled by his sheer power and virtuosity; but I recall no hint of pandering to the “surf” image—he just played tough, solid R&B-tinged tunes, mostly instrumentals, that stood by themselves without any self-conscious reference to surfing.

The Belairs, 1962: (from left) Chaz Stuart, Jim Roberts, Richard Delvy, Ed Betrand, Paul Johnson. ‘Wow, man—your music sounds just like it feels out on a wave! You oughta call it ‘surf’ music,’ man!

This uncontrived, serendipitous merging of trends testifies that surf music was one of those rare and marvelous phenomena that comes in like the wind and sweeps everyone along for the ride. It retained this air of carefree innocence and remained virtually free of pretense well into ‘62 (by which time Dale’s “Let’s Go Trippin’” and our “Mr. Moto” had hit the local charts).

The bare beginnings of exploitation came in from the outside, when someone did make a record called “Surfer Stomp” (with studio musicians who had nothing to do with the movement). When the Beach Boys’ “Surfin’” hit the air waves in early ’62, it was met with puzzlement turning to scorn among the surfers, who perceived them as “gremmies” (pseudo-surfers) trying to exploit the trend. I recall some locals once threatening to go beat up the Beach Boys for candy coating (so they felt) the image of the sport.

This is not to disparage the Beach Boys, who themselves later acknowledged that they were not a “real” surf band. It should be noted that once they went on to sing about cars, cruising and girls—things more germane to who they actually were—they were warmly embraced by everyone (surfers included) because now their music came across as more authentic. This resulted in an even larger phenomenon that I call “California music” (to distinguish it from surf music) through which the Beach Boys realized a far greater popularity around the world than the instrumental bands ever dreamed of.

The commercialism reached a peak when the Beach Party movies came along; inured as they were by this time to such exploitation, the surfers would just go to the theater and howl with derisive laughter at the ridiculous caricature of themselves that they saw on the screen!

Dick Dale and Stevie Ray Vaughan tear up ‘Pipeline’ in the 1987 film Back To The Beach

Apart from and despite all of this, the surf instrumental sound evolved, taking on the unique qualities that distinguished it from the other instrumentals of that day. When Leo Fender introduced the reverb unit for guitars in 1962, many of these new bands quickly embraced the wet, hollow tone that quickly became synonymous with surf music. Again, a pure accident of timing figured into defining the genre’s identity.

With the Tornados’ “Bustin’ Surfboards,” bands began to acknowledge their adoption by the surf culture by using surf themes in their tunes. However, surf’s biggest hits, “Pipeline” and “Wipe Out” (both in ‘63), originally bore non-surf titles (”Pipeline” was originally titled “Magnum 45” and “Wipe Out” was called “Stiletto” before being transformed by surf-oriented titles), indicating that at first, bands weren’t actively pursuing a surf image. In fact, very few “surf” musicians surfed. They simply played along with the game, lending their music a larger identity and thus a greater perceived significance than it might have had otherwise.

Surf music continued to prevail, with reverberations felt around the world, until it was "wiped out" by the British Invasion of '64. The further details of this very colorful story are beyond the scope of this article; my mission here has been to focus on the true origins surf music, and point out that to fully appreciate what really happened during those dizzying days, one must look past the media hype. Something very real was going on around Southern California’s beaches in the early ‘60s—something that rallied the spirit of the youth and gave them an identity and a musical expression all their own.

***

Only in recent years has it become apparent (with the benefit of hindsight) just how significant and influential the events described herein would prove to be upon the musical attitude of subsequent generations. Surf-style instrumentals were nowhere to be heard—they were regarded as trite if they were regarded at all—during the tumult of the late ‘60s and all through the ‘70s—a decade given over to a ponderous, self-important musical attitude, at odds with the carefree simplicity of surf music.

But the post-punk “new wave” movement of the early ‘80s was in large part a return to those simpler musical values pioneered by the early surf bands. (Just listen to the Go-Gos, the Cars and the B-52s...) Correspondingly, a revival of interest in instrumental surf music began in earnest at around that same time. Ever since then, there has been a worldwide subculture of avid fans and myriad bands dedicated to those values, and to keeping surf music alive, growing, and relevant to a changing world. The current scene includes both “traditional” surf bands faithfully echoing the sound of the ‘60s heyday, and “progressive” bands taking the music into daring new directions.
And it all traces back to that fabulous summer of ’61...

A Google search will help you to flesh out the rest of the story. You may find my own website—http//pjmoto.com—to be useful in this regard. In closing, I can think of no better way to put all of this into proper context than to provide a link here to the preview ofPounding Surf—a video documentary about surf music that some friends and I recently put together. This clip is “the picture worth another thousand words” that I would otherwise have to resort to in summing up: http://pjmoto.com/flash/pounding_surf.html.

The Belairs, 1961, ‘Mr. Moto,’ by Paul Johnson (guitar). One of surf music’s early, defining hits, and an acknowledged classic of the genre.

About Paul Johnson
Far from being a relic, Paul Johnson remains quite active in a thriving surf music subculture as a member of The Surfaris (‘Wipe Out’), his own bands The Duo-tones and the Hepcats, and as a writer, whose surf music documentary Pounding Surf, is now available at Johnson’s website.

RAIN - Vinnie Moore mostrando que as pausas são mais importantes que as notas

Festival Jeff Beck - De Hora em Hora até El Tigre e Les Paul encerrarem as homenagens a todos os 40tões a 70tões que curtiram e curtem essa trilha

Houve um disco (dentre tantos especiais) que foi gasto até o talo por Les Paul e Margranz: BLOW BY BLOW, obra prima de Jeff Beck, pródigo em construir silêncios e pausas maravilhosas. Faixas como "Cause We've Ended As Lovers" e "Diamond Dust" rivalizavam a preferência na vitrola com "She's A Woman" e "Scatterbrain", dependendo do estado de espirito. Desnecessária qualquer justificativa, contudo, justificada a homenagem fica!

Jeff Beck - Guitar
Vinnie Colaiuta - Drums
Tal Wilkenfeld - Bass
Jason Rebello - Keys

Jeff Beck

From Wikipedia, the free encyclopedia

Jeff Beck
Jeff Beck at the Palais, Melbourne, Australia 26 January 2009
Background information
Birth name	Geoffrey Arnold Beck
Born	24 June 1944 (age 67) Wallington, England
Genres	Blues rock, jazz fusion,instrumental rock, hard rock,electronica, progressive rock
Occupations	Musician, songwriter, actor
Instruments	Guitar, bass, talk box, vocals, trumpet, drums, flute, contrabass
Years active	1964-present
Labels	EMI, Epic (punch)
Associated acts	The Yardbirds, The Jeff BeckGroup, The Honeydrippers,Beck, Bogert & Appice, Stevie Ray Vaughan, Big Town Playboys, Upp, Eric Clapton,Duff McKagan
Website	jeffbeck.com
Notable instruments
Fender Jeff Beck Signature Model Stratocaster Jeff Beck 1954 Les Paul Oxblood

Geoffrey Arnold "Jeff" Beck (born 24 June 1944) is an English rockguitarist. He is one of three noted guitarists, to have played with The Yardbirds (Eric Clapton and Jimmy Page are the other two). Beck also formed The Jeff Beck Group and Beck, Bogert & Appice.

Much of Beck's recorded output has been instrumental, with a focus on innovative sound and his releases have spanned genres ranging from blues-rock, heavy metal, jazz fusion and most recently, an additional blend of guitar-rock and electronica. Although he recorded two hit albums (in 1975 and 1976) as a solo act, Beck has not established or maintained a broad following or the sustained commercial success of many of his collaborators and bandmates.^[1][2] Beck appears on albums by Mick Jagger, Kate Bush,Roger Waters, Stevie Wonder, Les Paul, Zucchero, Cyndi Lauper, Brian Mayand ZZ Top. In 1988, he made a cameo appearance in the movie Twins.

He was ranked 14th in Rolling Stone's list of the "100 Greatest Guitarists of All Time"^[3] and the magazine has described him as "one of the most influential lead guitarists in rock".^[4] He was also ranked second greatest rock guitarist of all time in Digital Dream Door, a site that ranks movies and music.^[5] MSNBC has called him a "guitarist's guitarist".^[1] Beck has earned wide critical praise and received the Grammy Award for Best Rock Instrumental Performance six times. He has been inducted into the Rock and Roll Hall of Fame twice: as a member of The Yardbirds (1992) and as a solo artist (2009).

Contents [hide] 1 Biography 1.1 Early life 1.2 Early career 1.3 1980s 1.4 1990s 1.5 2000s 2 Influences 3 Technique and equipment 4 Personal life 5 Discography 6 See also 7 Bibliography 8 References 9 External links

[edit]Biography

[edit]Early life

"I was interested in the electric guitar even before I knew the difference between electric and acoustic. The electric guitar seemed to be a totally fascinating plank of wood with knobs and switches on it. I just had to have one."

Beck^[6]

Beck was born in 1944 to Arnold and Ethel Beck at 206 Demesne Road,Wallington, England. As a ten year old Beck sang in a church choir. As a teenager he learned to play a borrowed guitar and made several attempts to build his own instrument, first by gluing and bolting together cigar boxes for the body and an unsanded fence-post for the neck with model aircraft control-lines and frets simply painted on. When fabricating a neck for his next try he attempted to use measurements for a bass guitar.

Beck has cited Les Paul as the first electric guitar player who impressed him.^[6] Cliff Gallup, lead guitarist with Gene Vincent and the Blue Caps was an early musical influence, followed by B.B. Kingand Steve Cropper.^[7]

Upon leaving school he attended Wimbledon College of Art, after which he was briefly employed as a painter and decorator, a groundsman on a golf course and a car paint-sprayer. Beck's sister introduced him to Jimmy Page when both were teenagers.

[edit]Early career

Beck began his career in the 1960s. He joined "The Rumbles" a Croydon band in 1963 for a short period as lead guitarist, playing Gene Vincent and Buddy Holly songs, displaying a talent for mimicking guitar styles. His first appearance on vinyl was as a session guitarist on a 1964 Parlophone single by The Fitz and Startz entitled 'I'm Not Running Away' c/w 'So Sweet'.

In March 1965 Beck was recruited by The Yardbirds to replace Eric Clapton on the recommendation of fellow session manJimmy Page, who had been their initial choice.^[8] The Yardbirds recorded most of their Top 40 hit songs during Beck's time with the band, which was short (but significant), allowing him only one full album, Yardbirds which became known as Roger the Engineer, released in 1966. From September to November 1966 he shared lead guitar duties with Page, who initially joined as bass player^[8] in June of that year.

Beck with the Jeff Beck Group, 1968

In February 1967, after recording the one-off "Beck's Bolero" (with Jimmy Page, John Paul Jones, Nicky Hopkins and Keith Moon) and two solo hit singles in the UK, "Hi Ho Silver Lining" and "Tallyman", Beck formed The Jeff Beck Group, which featured Rod Stewart on vocals, Ronnie Wood on bass, Nicky Hopkins on piano and, after a series of drummers, eventually Micky Waller.

The group produced two albums for Columbia Records (Epic in the US): Truth (August 1968) and Beck-Ola (July 1969). Truth, released five months before the first Led Zeppelin album, features "You Shook Me", a song written and first recorded by Willie Dixon that was also covered on the Led Zeppelin debut. It sold well (reaching number 15 on the Billboard charts). Beck-Ola, while well-received, saw drummer Micky Waller replaced by Tony Newman, and was less successful both commercially and critically. Resentment, coupled with touring incidents, led the group to dissolve in July 1969.

Nick Mason recalls in his autobiography that during 1967 Pink Floyd had wanted to recruit Beck to be their guitarist after the departure of Syd Barrett^[9] but "None of us had the nerve to ask him".^[10]

After the break-up of his group Beck took part in the Music From Free Creek "super session" project, billed as "A.N. Other" and contributed lead guitar on four songs, including one co-written by him. Next he teamed up with bassist Tim Bogert and drummer Carmine Appice, the rhythm section of Vanilla Fudge in September 1969, when Bogert and Appice came to England to resolve contractual issues, but when Beck fractured his skull in a caraccident near Maidstone in December the plan was postponed for two-and-a-half years, during which time Bogert and Appice formed Cactus. Beck later remarked on the 1960s period of his life: "Everyone thinks of the 1960s as something they really weren't. It was the frustration period of my life. The electronic equipment just wasn't up to the sounds I had in my head.^[11]

In 1970, when Beck had regained his health, he set about forming a band with drummer Cozy Powell. Beck, Powell and producer Mickie Most flew to the US and recorded several tracks at Motown Studios with Motown session men, but the results remained unreleased. By April 1971 Beck had completed the line-up of this new group with guitarist/vocalist Bobby Tench, keyboard player Max Middleton and bassist Clive Chaman. The new band performed as the "Jeff Beck Group" but had a substantially different sound from the first line-up. Rough and Ready (October 1971), the first album they recorded, on which Beck wrote or co-wrote six of the album's seven tracks (the exception being written by Middleton), included elements of soul, rhythm-and-blues and jazz, foreshadowing the direction Beck's music would take later in the decade.

Beck playing in 1973

A second album Jeff Beck Group (July 1972) was recorded at TMI studios inMemphis, Tennessee with the same personnel.^[12] Beck employed Steve Cropperas producer^[13] and the album displayed a strong soul influence, five of the nine tracks being covers of songs by American artists. One, "I Got To Have A Song", was the first of four Stevie Wonder compositions covered by Beck. Shortly after the release of the Jeff Beck Group album the band was dissolved and Beck's management put out the statement that: "The fusion of the musical styles of the various members has been successful within the terms of individual musicians, but they didn't feel it had led to the creation of a new musical style with the strength they had originally sought."^[14]

Beck then started collaborating with bassist Tim Bogert and drummer Carmine Appice, who became available following the demise of Cactus but continued touring as Jeff Beck Group in August 1972, to fulfil contractual obligations with his promoter, with a line-up including Bogert, Appice, Max Middleton and vocalist Kim Milford. After six appearances Milford was replaced by Bobby Tench, who was flown in from the UK^[15] for the Arie Crown Theatre Chicago performance and the rest of the tour,^[16] which concluded at the Paramount North West Theatre, Seattle.^[17] After the tour Tench and Middleton left the band and the power trioBeck, Bogert & Appice appeared: Appice took on the role of vocalist with Bogert and Beck contributing occasionally.^[17] They were included on the bill for Rock at The Oval in September 1972, still as the "Jeff Beck Group", which marked the start of a tour schedule of UK, the Netherlands and Germany. Another US tour began in October 1972, starting at the Hollywood Sportatorium Florida and concluding on 11 November 1972 at The Warehouse,New Orleans.^[18] In April 1973 the album Beck, Bogert & Appice was released (on Epic Records). While critics acknowledged the band's instrumental prowess the album was not commercially well received except for its cover of Stevie Wonder's hit "Superstition".

On 3 July 1973 Beck joined David Bowie on-stage to perform "The Jean Genie"/"Love Me Do" and "Around and Around". The show was recorded and filmed but none of the released editions included Beck. During October 1973 Beck recorded tracks for Michael Fennelly's^[19] album Lane Changer and attended sessions with Hummingbird, a band derived from TheJeff Beck Group, but did not to contribute to their eponymous first album^[20]

Early in January 1974 the band played at the Rainbow Theatre, as part of a European tour. The concert was broadcast in full on the US show Rock Around the World in September of the same year. This last recorded work by the band previewed material intended for a second studio album, included on the bootleg At Last Rainbow. The tracks Blues Deluxe and BBA Boogie from this concert were later included on the Jeff Beck compilation Beckology (1991).^[21] Beck, Bogert & Appice dissolved in April 1974 before their second studio album (produced by Jimmy Miller) was finished. Their live album Beck, Bogert & Appice Live in Japan, recorded during their 1973 tour of Japan, was not released until February 1975 by Epic/Sony.

After a few months Beck entered Underhill Studio and met with the group Upp, whom he recruited as backing band for his appearance on the BBC TV programme Guitar Workshop in August 1974. Beck produced and played on their self-titled debut album and their second album This Way Upp, though his contributions to the second album went uncredited. In October Beck began to record instrumentals at AIR Studios with Max Middleton, bassist Phil Chen and drummer Richard Bailey, using George Martin as producer and arranger. Blow by Blow (March 1975) evolved from these sessions and showcased Beck's technical prowess in jazz-rock. The album reached number four in the charts and is Beck's most commercially-successful release. Beck, fastidious about overdubs and often dissatisfied with his solos, often returned to AIR Studios until he was satisfied. A couple of months after the sessions had finished Martin received a telephone call fromBeck, who wanted to record a solo section again. Bemused, Martin replied: "I'm sorry, Jeff, but the record is in the shops!"^[6]

Beck performing in Amsterdam; 1979

Beck put together a live band for a US tour, preceded by a small and unannounced gig at The Newlands Tavern in Peckham, London. He toured through April and May 1975, mostly supporting the Mahavishnu Orchestra, retaining Max Middleton on keyboards but with the new rhythm section of Wilbur Bascomb (bass) and noted session drummer Bernard "Pretty" Purdie. In a May 1975 show in Cleveland, Ohio (Music Hall), he became frustrated with an early version of a "talk box" he used on his arrangement of The Beatles "She's A Woman," and after breaking a string, tossed his legendary Yardbirds-era Stratocaster off the stage. He did the same with the talk box and finished the show playing a Les Paul and without the box. During this tour he performed at Yuya Uchida's "World Rock Festival," playing a total of eight songs with Purdie. In addition he performed a guitar and drum instrumental with Johnny Yoshinaga and, at the end of the festival, joined in a live jam with bassist Felix Pappalardi of Mountain and vocalist Akira "Joe" Yamanaka from the Flower Travellin' Band. Only his set with Purdie was recorded and released.

He returned to the studio and recorded Wired (1976), which paired the drummer and composer Narada Michael Walden and keyboardist Jan Hammer. The album used a jazz-rock fusion style which sounded similar to the work of his two collaborators. To promote the album, Beck joined forces with the Jan Hammer Group, playing a show supporting Alvin Lee at The Roundhouse in May 1976, before embarking on a seven-month long world tour. This resulted in the live album Jeff Beckwith The Jan Hammer Group - Live (1977).

At this point, Beck was a tax exile and took up residency in the US, remaining there until his return to the UK in the autumn of 1977. In the spring of 1978, he began rehearsing with bassist Stanley Clarke and drummer Gerry Brown towards a projected appearance at the Knebworth Festival, but this was cancelled after Brown dropped out. Beck toured Japan for three weeks in November 1978 with an ad-hoc group consisting of Clarke and newcomers Tony Hymas (keyboards) andSimon Phillips (drums) from Jack Bruce's band. Work then began on a new studio album at The Who's Ramport Studios in London and continued sporadically throughout 1979, resulting in There and Back in June 1980. It featured three tracks composed and recorded with Jan Hammer, while five were written with Hymas. Stanley Clarke was replaced by Mo Fosteron bass, both on the album and the subsequent tours. Its release was followed by extensive touring in the USA, Japan and the UK.

[edit]1980s

In 1981 Beck made a series of historic live appearances with his Yardbirds predecessor Eric Clapton at the Amnesty International-sponsored benefit concerts dubbed The Secret Policeman's Other Ball shows. He appeared with Clapton on "Crossroads", "Further On Up The Road", and his own arrangement of Stevie Wonder's "Cause We've Ended As Lovers".Beck also featured prominently in an all-star band finale performance of "I Shall Be Released" with Clapton, Sting, Phil Collins, Donovan and Bob Geldof. Beck's contributions were seen and heard in the resulting album and film, both of which achieved worldwide success in 1982. Another benefit show, the ARMS Concert for Multiple Sclerosis featured a jam withBeck, Eric Clapton and Jimmy Page. They performed "Tulsa Time" and "Layla". This is the only time all of the Yardbirds lead guitarists appeared on stage together.^{[citation needed]}

In 1985 Beck released Flash, featurng a variety of vocalists, but most notably former bandmate Rod Stewart on a rendition of Curtis Mayfield's "People Get Ready".

After a four year break, Jeff made a return to instrumental music with the album Jeff Beck's Guitar Shop (1989), the first album to feature Beck as a fingerstyle guitarist, leaving the plectrum playing style. It was only his 3rd album to be released in the 1980s. Much of Beck's sparse and sporadic recording schedule was due in part to a long battle with noise-inducedtinnitus.

[edit]1990s

Jeff Beck at the Enmore Theatre, Sydney

In the 1990s, Beck had a higher musical output. He is featured on lead guitar on Roger Waters' 1992 concept album Amused to Death, and on Kate Bush's1993 album The Red Shoes.

He recorded the instrumental soundtrack album Frankie's House (1992), as well as Crazy Legs (1993), a tribute album to 50's rockabilly group Gene Vincent and the Blue Caps and their influential guitarist Cliff Gallup.

Beck rehearsed with Guns N' Roses for their concert in Paris in 1992, but did not play in the actual concert due to ear damage caused by a Matt Sorumcymbal crash, causing Beck to become temporarily deaf.^[22] The Yardbirds were inducted into the Rock and Roll Hall of Fame in 1992. In Beck's acceptance speech he humorously noted that:

“

Someone told me I should be proud tonight... But I'm not, because they kicked me out. ...They did... Fuck them![23]

”

He accompanied Paul Rodgers of Bad Company on the album Muddy Water Blues: A Tribute to Muddy Waters in 1993. Jeff's next release would not be until 1999, his first foray into guitar based electronica, Who Else! The album also marked Beck's first collaboration with a female musician, Jennifer Batten, in touring, writing, and recording as well as the first time he had worked with another guitarist on his own material since playing in The Yardbirds. Beck continued to work with Batten through the post-release tour of You Had It Coming in 2001.^[24]

[edit]2000s

Jeff Beck won his third Grammy Award, this one for 'Best Rock Instrumental Performance' for the track "Dirty Mind" fromYou Had It Coming (2001).

The song "Plan B," from the 2003 release Jeff, earned Beck his fourth Grammy Award for Best Rock Instrumental Performance, and was proof that the new electro-guitar style he used for the two earlier albums would continue to dominate.Jeff Beck was the opening act for B.B. King in the summer of 2003 and appeared at Eric Clapton's Crossroads Guitar Festival in 2004.

Beck with Tal Wilkenfeld on the 2007Crossroads Guitar Festival tour

In 2007, he accompanied Kelly Clarkson for her cover of Patty Griffin's "Up to the Mountain (MLK Song)", during the Idol Gives Back episode ofAmerican Idol. The performance was recorded live and afterwards was immediately released for sale. In the same year, he appeared once again at Clapton's Crossroads Guitar Festival, performing with Vinnie Colaiuta,Jason Rebello, and the then 21-year-old bassist Tal Wilkenfeld.

Beck announced a world tour in early 2009 and remained faithful to the same lineup of musicians as in his tour two years before, playing and recording at Ronnie Scott's in London to a sold out audience. Beckplayed on the song "Black Cloud" on the 2009 Morrissey album Years of Refusal and later that year, Harvey Goldsmith became Beck's Manager.^[25]

Beck was inducted into the Rock and Roll Hall of Fame on 4 April 2009, as a solo artist.^[26] The award was presented byJimmy Page.^[27] On 4 July 2009, David Gilmour joined Beck onstage at the Albert Hall. Beck and Gilmour traded solos on "Jerusalem" and closed the show with "Hi Ho Silver Lining".

Beck's latest album, Emotion & Commotion, was released in April 2010. It features a mixture of original songs and covers such as "Over the Rainbow" and "Nessun Dorma". Joss Stone provides some of the guest vocals.^[28] Two tracks fromEmotion & Commotion won Grammys in 2011: "Nessun Dorms" won the Best Pop Instrumental Performance and "Hammerhead" won the Best Rock Instrumental Performance".^[29]

Beck's 2010 World Tour band features Grammy winning musician Narada Michael Walden on drums, Rhonda Smith on bass and Jason Rebello on keyboards. Beck collaborated on "Imagine" for the 2010 Herbie Hancock album, The Imagine Projectalong with Seal, P!nk, India.Arie, Konono N°1, Oumou Sangare and others.^[30] He has also released a live album titled Live and Exclusive from the Grammy Museum on October 25, 2010.

In 2011, Beck received two honorary degrees from British universities. On 18 July 2011, he was honoured with a fellowship from University of the Arts London in recognition of his "outstanding contribution to the field of Music".^[31] He was also presented with an honorary doctorate from University of Sussex by Sanjeev Bhaskar, the university's chancellor for “an outstanding musical career and celebrated the relationship between the university and the Brighton Institute of Modern Music (BIMM)" on 21 July 2011.^[32][33]

[edit]Influences

One of the most influential guitarists in the history of rock music,^[4][34][35] Jeff Beck has cited his major influences as Les Paul,^[6] The Shadows, Cliff Gallup, Ravi Shankar, Roy Buchanan,^[36] Chet Atkins, Django Reinhardt, Steve Cropper andLonnie Mack.^[37] Of John McLaughlin, he said: "he has given us so many different facets of the guitar and introduced thousands of us to world music, by blending Indian music with jazz and classical. I'd say he was the best guitarist alive."^[38]

While Beck was not the first rock guitarist to experiment with electronic distortion, he nonetheless helped to redefine the sound and role of the electric guitar in rock music. Beck's work with The Yardbirds and The Jeff Beck Group's 1968 albumTruth were seminal influences on heavy metal music, which emerged in full force in the early 1970s.^[39]

[edit]Technique and equipment

"...we shared a dressing room with the Yardbirds. At that point, it was kind of a peak period, Jimmy Page was playing bass; he had just joined the band. Chris Dreja was still playing rhythm guitar, Jeff Beck was playing lead through a Super Beatle and using banjo strings for the unwound G, 'cos they didn't make sets with an unwound G at that point. So he used banjo strings to complete his set. When he was in the dressing room, our guitar player went into his guitar case trying to find out his secrets and found a banjo string. I think he actually took one."

Scott Morgan of the Rationals.^[35]

Beck stopped regular use of a pick (plectrum) in the 1980s. He produces a wide variety of sounds by using his fingers and thevibrato bar on his signature Fender Stratocaster, although he frequently uses a wah-wah pedal both live and in the studio. As Eric Clapton once said, "With Jeff, it’s all in his hands".^[40]Along with Fender Stratocasters, Beck occasionally playsFender Telecaster and Gibson Les Paul models as well. His amplifiers are primarily Fender and Marshall. In his earlier days with the Yardbirds, Beck also used a 1954 Fender Esquireguitar (now owned by Seymour W. Duncan, and housed in the Cleveland Rock and Roll Hall of Fame^[41]) through Vox AC30s. He has also played through a variety of fuzz pedals and echo-units along with this set-up and has used the Pro Co RATdistortion pedal.

He is noted for changes of musical style and direction throughout his career. Ritchie Blackmore once praised this aspect ofJeff in an interview to Martin K. Webb, when the interviewer asked him what he means by "chance music", he replied:

"... Jeff Beck's great to listen to, because he takes a chance, and when it comes off it's so emotional. When he gets feedback going right it's like an orchestra playing instead of just a guitar with a lot of brilliant runs... Beck takes a chance every night. Sometimes, he's absolutely useless, and you wonder why he's got a name. Other times he pulls things off that sound like nothing you've heard before. He's one of my favourite guitarists. But taking all those chances is why he gets such bad reviews, sometimes. The reviewers sometimes catch him on nights when it doesn't work."

Ritchie Blackmore.^[34]

During the ARMS Charity Concerts in 1983 Beck used his battered Fender Esquire along with a 1954 Fender Stratocasterand a Jackson Soloist. On the Crazy Legs (1993) he played a Gretsch Duo Jet, his signature Fender Stratocaster and various other guitars. Recently^[when?] Fender created a Custom Shop Tribute series version of his beat-up Fender Esquire as well as his Artist Signature series Stratocaster.

[edit]Personal life

Beck has been married to Sandra Cash since 2005.^[42] Beck describes himself as a vegetarian. He has an interest in classic Ford hot rods, performing much of the work on the exteriors and engines of the cars by himself.^[43]

[edit]Discography

Main article: Jeff Beck discography

[edit]See also

• List of rock instrumentals

[edit]Bibliography

• Carson, Annette. Jeff Beck: Crazy Fingers. Backbeat books (2002). ISBN 0-87930-632-7
• Horjt, Chris and Hinman, Doug. Jeff's book : A chronology of Jeff Beck's career 1965-1980 : from the Yardbirds to Jazz-Rock. Rock 'n' Roll Research Press, (2000). ISBN 0-9641005-3-3
• Foster, Mo.17 watts?: The Birth of British Rock Guitar. Sanctuary (1997 and 2000). ISBN 978-1-86074-267-5

[edit]References

1. ^ ^{a b} "The guitarist's player". Top Ten Rock Guitarists. MSNBC. 2008. Retrieved 27 July 2009.
2. ^ Erlewine, Stephen Thomas. "Jeff Beck". Allmusic. Retrieved 2011-08-28.
3. ^ "The 100 Greatest Guitarists of All Time". Rolling Stone. 27 August 2003.
4. ^ ^{a b} "Jeff Beck Biography". Rolling Stone. Retrieved 26 August 2011.
5. ^ "100 Greatest Rock Guitarists of all Time".
6. ^ ^{a b c d} Foster, Mo. 17 Watts? The Birth of British Rock Guitar. Sanctuary Publishing. pp. 13, 119, 120, 315.
7. ^ Interview with Vh1 History of Rock and Roll.
8. ^ ^{a b} "Yardbird - How He Became England's". Hit Parader. April 1966. Retrieved 30 January 2010.
9. ^ K Whitlock. "Record Collector Interview". Pink Floyd & Co fan website. Retrieved 15 December 2007.
10. ^ Mason, Nick and Dodd, Philip. Inside out: A personal history of Pink Floyd. Chronicle Books (2005).
11. ^ Tobler, John (1992). NME Rock 'N' Roll Years (1st ed.). London: Reed International Books Ltd. p. 292. CN 5585.
12. ^ Graves, Tom. "Jeff Beck Group (album)". allmusic.com. Retrieved 14 February 2009.
13. ^ Hjort and Hinman. Jeff's book: A Chronology of Jeff Beck's Career 1965-1980. p. 115.
14. ^ Hjort and Hinman. Jeff's book: A Chronology of Jeff Beck's Career 1965-1980. p. 122.
15. ^ Hjort and Hinman. Jeff's book: A Chronology of Jeff Beck's Career 1965–1980. p. 123.
16. ^ Joynson, Vernon. The Tapestry of Delights-The Comprehensive Guide to British Music of the Beat, R&B, Psychedelic and Progressive Eras. Borderline. p. 415.
17. ^ ^{a b} Hjort and Hinman. Jeff's book: A Chronology of Jeff Beck's Career 1965–1980. p. 124.
18. ^ Hjort and Hinman. Jeff's book: A Chronology of Jeff Beck's Career 1965–1980. pp. 125–131.
19. ^ Thomas, Bryan. "Michael Fennelly". allmusic.com. Retrieved 31 July 2009.
20. ^ Hjort and Hinman. Jeff's book: A Chronology of Jeff Beck's Career 1965-1980. p. 146.
21. ^ Bruce Eder. "Beckology". Allmusic.com. Retrieved 16 February 2009.
22. ^ I went over to Paris to do a show with Guns 'N' Roses. We'd rehearsed in the dressing room and went out to do a sound check. Matt hit one bass drum and it was like forty million watts going through me, and I had to walk away. <http://www.clashmusic.com/feature/jeff-becks-music-business-lessons>
23. ^ "Jeff Beck-Hall of Fame Speech". YouTube. 23 March 2008. Retrieved 13 January 2010.
24. ^ Blackett, Matt. "Rock: Riffs-Jennifer Batten." Guitar Player. Vol. 42.9. Sept. 2008
25. ^ BBC Desert Island Discs Harvey Goldsmith
26. ^ Run-D.M.C., Metallica nominated for Rock & Roll Hall of Fame Associated Press 22 September 2008
27. ^ "The Associated Press: Run-DMC, Metallica lead list of 2009 Rock Hall". google.com (News). Retrieved 28 January 2010.
28. ^ "Jeff beck, Emotion & Commotion". Rolling Stone. 13 April 2009. Retrieved 2 February 2010.
29. ^ "The 2011 Grammy winners list: Who took home the gold?". USA Today. 2011-02-14. Retrieved 2011-07-22.
30. ^ "The Imagine Project". All About Jazz. 2010-06-21. Retrieved 2010-11-29.
31. ^ "Jeff Beck receives an Honorary Fellowship from University of the Arts London and University of Sussex". imaguitarist. 2011-07-19. Retrieved 2011-07-22.
32. ^ "Guitarist Jeff Beck receives honorary degree in Sussex". BBC. 2011-07-21. Retrieved 2011-07-22.
33. ^ "Sussex University graduation ceremonies begin". The Argus. 2011-07-21. Retrieved 2011-07-22.
34. ^ ^{a b} "Jeff Beck Interview". thehighwaystar.com. Retrieved 1 February 2010.
35. ^ ^{a b} Shimamoto, Ken. "Jeff Beck interview". scottmorganmusic.com. Retrieved 1 February 2010.
36. ^ Noble, Douglas. "Jeff Beck Interview taken from The Guitar Magazine' Vol 3 No 4, June 1993". djnoble.demon.co.uk. Retrieved 1 February 2010.
37. ^ Interview with Mojo magazine, June 2009
38. ^ Interview with Uncut magazine, March 2010.
39. ^ Truth Jeff Beck: Review. Allmusic
40. ^ "Jeff Beck". jeffbeck.com. Retrieved 1 February 2010.
41. ^ Blackett, Matt (December 2000). "Pure Genius: Guitar's Magnificent Rebel Puts a Twist on Techno". Guitar Player: pp. 98–106.
42. ^ "Jeff Back Marries Wife Number Six - Contactmusic News". Contactmusic.com. Retrieved 2011-07-05.
43. ^ Douglas J Noble (June 1993). "Interview outtakes". Guitar Magazine Vol 3 No 5 / The Jeff Beck Bulletin issue 3, Fall 1994. Guitar Magazine. Retrieved 28 March 2009.

[edit]External links

• Press conference and master class by Jeff Beck in Moscow 2010
• Jeff Beck Official Site