殘缺之美：醉臥文藝沙場 這是我登我所寫、所畫，以及我喜歡的東西的台，所以都是分享我自己的作品，也請尊重創作者的心血.....

4,418愛的鼓勵 2訂閱站台

ALONGSIDE fellow Yardbirds members Eric Clapton and Jimmy Page, Jeff Beck was a critical actor in the English blues-rock scene of the 1960s.

Clapton's tenure in the Yardbirds, Cream and Derek and Dominoes saw him elevated to the status of guitar deity while Page secured his place in rock mythology as guitarist in the legendary Led Zeppelin.

Beck's artistic achievements, however, have been less commercially successful. During the past 40 years, he has successfully infused his original blues rock style with musical influences ranging from jazz to funk, electronica and classical music.

Following on his recent Australian tour last year, Beck has returned to this country to promote his new album, Emotion and Commotion.

For this tour Beck's band comprises long-time collaborator Narada Michael Walden on drums, English-born keyboard player Jason Rebello and Rhonda Smith on bass.

Beginning with Eternity's Breath, Smith's "slap" style on the bass gave a funkier edge to many of the songs.

On Emotion and Commotion, Beck reinterpreted various popular tunes.

The set featured his brand of classical orchestration in Somewhere Over the Rainbow and Jeff Buckley's Corpus Christi Carol.

In contrast Hammerhead invoked the sonic aesthetic of Jimi Hendrix and Rollin' and Tumblin' can be located in the spirit of Beck's tenure in the Yardbirds. Beck delved into his 70s catalogue for Led Boots from 1976's Wired, while the cover of People Get Ready was characterised by a rich, jazz-tinged flavour.

With his distinctive plectrum-less style, Beck transformed his Fender Stratocaster (and, later, Telecaster) into a natural extension of his arms and fingers. Beck's comfort with his guitar was balanced by the enigmatic quality of his infrequent interactions with the crowd.

The first set concluded with covers of Sly and the Family Stone's I Want to Take You Higher and A Day in the Life. On the former, Beck's heavy rock licks supplanted the soulful horns of the original; on the latter he punctuated sweet folk pop with bruising power chords.

Returning to the stage, Beck traded his Fender for a Les Paul guitar for How High the Moon. After rendering Puccini's aria Nessun Dorma in a power-ballad style, the night concluded with Freeway and the Stevie Wonder-penned Cause We've Ended As Lovers from Beck's seminal 1975 jazz-fusion album Blow By Blow.

Despite a legion of pale imitators, Beck remains as brilliant and eclectic as ever.

Jeff Beck plays Enmore Theatre, Sydney, tonight; The Tivoli, Brisbane, on Thursday.

http://www.theaustr alian.com. au/news/arts/ blow-by-blow- guitar-god- as-brilliant- as-ever/story- e6frg8n6- 1225847146628