Jeff Beck Blow By Blow Gold CD Mastersound SBM Longbox Neu OVP Sealed EK 55442 RAR

Produktinformation


Audio CD (1993)
Anzahl Disks/Tonträger: 1
Format: Gold CD
Label: Epic Records  (Sony BMG)

Tracks



You know what I mean (4:02)
She's a woman (4:28)
Constipated Duck (2:50)
AIR Blower (5:07)
Scatterbrain (3:39)
Cause we've ended as Lovers (5:51)
Thelonius (3:17)
Freeway Jam (4:57)
Diamond Dust (8:24)
"Ich hatte leider kein Geld, mich von Musik-Professoren unterrichten zu lassen und tief in den Jazz einzusteigen. Jeff Beck schon.", so der amerikanische Fusion-Gitarrist Raymond Gomez.

Nur wenn man von Jeff Becks Weiterbildungsmaßnahme in den frühen 70ern weiß, kann man sich erklären, wie dieser Typ, der als Teenie seinen flinken Blues bei den Yardbirds spielte, mit seiner Jeff Beck Group experimenteller wurde und seiner Gibson bereits unerhörte Läufe entlockte, dann 1975 dies machte:

Beck zaubert nie dagewesene Kaskaden verspielter Licks und Tricks, reißt und zerrt mit bloßen Fingern witzelnde, schwitzende Töne aus den Saiten, interpretiert zwei Stevie-Wonder-Songs, einen Beatles-Song, schreibt sonst fast alle weiteren Tracks, die auf komplexem Funk basieren, selbst. Und klar, Beck spricht die Sprache des Jazz, aber fabriziert mit seinen einzigartigen Mitmusikern Max Middleton an den Keyboards, Phil Chenn am Bass und dem grandiosen Richard Bailey am Schlagzeug eine völlig eigene Fusion-Sprache, die noch heute, nach 25 Jahren Popgeschichte, unwiderstehlich hip ist.

Erfährt man dann, dass Beatles-Produzent George Martin hinterm Pult saß und einige fetzige Orchesterpassagen dazu komponiert hat, versteht man die unvergängliche Hipness von Blow By Blow besser.

Auch gut zu wissen, dass Jeff Beck ein Jahr später mit Wired eine noch hochprozentigere Dosis seines Space-Jazz zur Welt brachte. Diesmal mit deutlichem Einfluß von Synthie-Virtuose Jan Hammer. In dieser Zeit zogen Becks Werke gleich mit den Alben von Mahavishnu John McLaughlin, Billy Cobhams furiosen Solo-Alben (allen voran Spectrum) und Schooldays von Stanley Clarke, wo oben zitierter Ray Gomez für den verhinderten Jeff Beck einsprang. --Volker Wilde

Review by Mark Kirschenmann
Blow by Blow typifies Jeff Beck's wonderfully unpredictable career. Released in 1975, Beck's fifth effort as a leader and first instrumental album was a marked departure from its more rock-based predecessors. Only composer/keyboardist Max Middleton returned from Beck's previous lineups. To Beck's credit, Blow by Blow features a tremendous supporting cast. Middleton's tasteful use of the Fender Rhodes, clavinet, and analog synthesizers leaves a soulful imprint. Drummer Richard Bailey is in equal measure supportive and propulsive as he deftly combines elements of jazz and funk with contemporary mixed meters. Much of the album's success is also attributable to the excellent material, which includes Middleton's two originals and two collaborations with Beck, a clever arrangement of Lennon and McCartney's "She's a Woman," and two originals by Stevie Wonder. George Martin's ingenious production and string arrangements rival his greatest work. Beck's versatile soloing and diverse tones are clearly the album's focus, and he proves to be an adept rhythm player. Blow by Blow is balanced by open-ended jamming and crisp ensemble interaction as it sidesteps the bombast that sank much of the jazz-rock fusion of the period. One of the album's unique qualities is the sense of fun that permeates the performances. On the opening "You Know What I Mean," Beck's stinging, blues-based soloing is full of imaginative shapes and daring leaps. On "Air Blower," elaborate layers of rhythm, duel lead, and solo guitars find their place in the mix. Propelled by the galvanic rhythm section, Beck slashes his way into "Scatterbrain," where a dizzying keyboard and guitar line leads to more energetic soloing from Beck and Middleton. In Stevie Wonder's ballad "Cause We've Ended as Lovers," Beck variously coaxes and unleashes sighs and screams from his guitar in an aching dedication to Roy Buchanan. Middleton's aptly titled "Freeway Jam" best exemplifies the album's loose and fun-loving qualities, with Beck again riding high atop the rhythm section's wave. As with "Scatterbrain," Martin's impeccable string arrangements enhance the subtle harmonic shades of the closing "Diamond Dust." Blow by Blow signaled a new creative peak for Beck, and it proved to be a difficult act to follow. It is a testament to the power of effective collaboration and, given the circumstances, Beck clearly rose to the occasion. In addition to being a personal milestone, Blow by Blow ranks as one of the premiere recordings in the canon of instrumental rock music.
 

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