Jeff Beck, rocker and romantic.
A sultry Wednesday in June, the eve of the sixty-seventh birthday of one of the world's most extraordinary rock figures - Jeff Beck. In the Tesla Arena in Holešovice, a little over two thousand listeners first listen to the opening act accompanying Canadian vocalist Neema. Leonard Cohen's favourite has minor intonation flaws, but the overall impression is saved, apart from the band's decent performance, by the unusual and pleasant timbre of Neema's voice. A brief intermission after the Canadian's 33-minute set allows other newcomers to take their seats against the unusually, widthwise positioned stage.
A few minutes after 9:00, first the "backing" band comes on, followed by Jeff Beck in a white shirt and black jacket with a white Fender around his neck. The term "backing" does not do justice to the role of this musical selection. Jason Rebello (ex Sting, Phill Collins) on keys, Narada Michael Walden on drums and Rhonda Smith on bass, known for her distinctive playing from her decade with Prince. The band showcases their quality right away on the opening tracks Plan B (2003) and the funky Led Boots, which lean on strong guitar riffs but give a lot of room for instrumental equilibration throughout. There are also tracks from Jeff Beck's latest album, Emotion & Commotion (2010). Hammerhead (2010), the essence of instrumental rock, is a great opener. In Britten's Corpus Christi Carol, Beck's weaving guitar and Rebell's rich harmonies harmonise flawlessly. Not to be missed is the cover of People Get Ready (1965), the hit song Jeff once made famous with Rod Stewart. In a distinctive version of Rollin' and Tumblin', Rhonda Smith shines with a superb rasp that adds the necessary tension to this traditional. Jeff Beck plays most of the time with his right side facing the audience, which makes the technique of his right hand, or rather the thumb of his right hand, all the more noticeable. It is incredible the confidence that accompanies not only the runs on the fingerboard, but also the control of the volume of the sound and the sober and precise use of effects. Gradually there are tributes to other artists, whether it be the Beatles (A Day in the Life (1967), or Jimmy Hendrix (Little Wing- 1967), in which Michael Walden takes the vocal part, or even a tribute to the late Les Paul, the brilliant guitar designer, on his ninety-sixth birthday, conceived as a half playback with parts played on a classic Gibson. Beck doesn't presume to show off his blues skills on Brush with the Blues and revisits the acclaimed 1975 album Blow by Blow in a modified version of Because We've Ended as Lovers. The encore features first I Want to Take You Higher (Sly & the Family Stone, 1969), and then the anticipated highlight of the evening, an arrangement of Giacomo Puccini's Nessun Dorma with a typically Beck-esque arrangement leaning on keyboards, arching, unmistakable guitar sound and a sensitive, precise rhythm.
In over twenty tracks, it's everything the quirky Brit has to offer. A completely unique melodic guitar line, a sense of composition, harmony and arrangement, a rock feel and precise interplay with excellent players of other instruments. A good sound and a sober setting without unnecessary effects help to create the atmosphere of a true artistic experience. An excellent concert and an unforgettable evening.
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