Jeff Beck
Y
April 7, 2006
House of Blues, West Hollywood
Wednesday, April 5
The most avid Jeff Beck fans will tell you they go to his concerts to hear him play rather than watch. That makes sense, because he mostly shrugs at being a commanding showman, preferring to let his guitar do the interacting.
But plunked into a club setting Wednesday at the House of Blues, Beck seemed energized by the tight quarters and his tight band. He peppered his playing with tricks and tossed in some honest-to-guitar-god antics, apparently enjoying himself as much as the colorful crowd enjoyed him. And if he has lost a step at 61, it wasn't obvious this night.
Playing the fourth of six dates on a weeklong tour of the Southwest, Beck sauntered onstage, powdered up his hands and went straight to work. Using his 1968 classic "Beck's Bolero" as a warmup, he pinballed across his 40-year career, visiting every square inch of the guitar, mercilessly deploying the whammy bar and occasionally throwing both fists in the air as he let a note hang. Before long, heads were shaking throughout the hall -- either moving in time to the music or simply wordlessly saying "wow." Probably both.
The biggest curveball, as far as Beck gigs go, was a guest vocalist: L.A.-based blues rocker Beth Hart, who shared the stage for about a half-dozen numbers. She strode onstage belting "You Shook Me" and immediately made some aggressive-suggestive moves on Beck. He backed away, but she kept coming at him, like some seductress with an agenda.
Hart has an uninhibited charm and fiery, throaty vocal style, but her hair-tossing histrionics sometimes came just a rung or two from going over the top. Still, Beck appeared relieved to have someone else take the spotlight, and their back-and-forth was a pleasing sideshow -- especially during the encore of "Going Down," when Hart hit her knees to belt out the familiar chorus.
Beck's versatility -- and his iconoclasm -- were most apparent midway through the 90-minute set during a four-song run. "Behind the Veil" was a foray into island riddim, complete with some goofy guitar trickery that charged the crowd. "Two Rivers" was laid-back melancholia, and "Star Cycle" had a prog-meets-'80s sound fueled by keyboardist Jason Rebello, who took advantage of his times in the spotlight. Rebello then rested for much of "Big Block," allowing for a satisfying power trio rock workout. All the while, hard-working Vinnie Colaiuta provided booming, sloppy-sure drums, seemingly following orders to fill at will.
After four decades, Beck still has the ability to thrill. While unfailing technique is second nature to him, it was a pleasure to see Beck give just a bit extra on the showmanship side. The result was one of those nights that even a veteran concertgoer brags about the next day. And the next.
Wednesday, April 5
The most avid Jeff Beck fans will tell you they go to his concerts to hear him play rather than watch. That makes sense, because he mostly shrugs at being a commanding showman, preferring to let his guitar do the interacting.
But plunked into a club setting Wednesday at the House of Blues, Beck seemed energized by the tight quarters and his tight band. He peppered his playing with tricks and tossed in some honest-to-guitar-god antics, apparently enjoying himself as much as the colorful crowd enjoyed him. And if he has lost a step at 61, it wasn't obvious this night.
Playing the fourth of six dates on a weeklong tour of the Southwest, Beck sauntered onstage, powdered up his hands and went straight to work. Using his 1968 classic "Beck's Bolero" as a warmup, he pinballed across his 40-year career, visiting every square inch of the guitar, mercilessly deploying the whammy bar and occasionally throwing both fists in the air as he let a note hang. Before long, heads were shaking throughout the hall -- either moving in time to the music or simply wordlessly saying "wow." Probably both.
The biggest curveball, as far as Beck gigs go, was a guest vocalist: L.A.-based blues rocker Beth Hart, who shared the stage for about a half-dozen numbers. She strode onstage belting "You Shook Me" and immediately made some aggressive-suggestive moves on Beck. He backed away, but she kept coming at him, like some seductress with an agenda.
Hart has an uninhibited charm and fiery, throaty vocal style, but her hair-tossing histrionics sometimes came just a rung or two from going over the top. Still, Beck appeared relieved to have someone else take the spotlight, and their back-and-forth was a pleasing sideshow -- especially during the encore of "Going Down," when Hart hit her knees to belt out the familiar chorus.
Beck's versatility -- and his iconoclasm -- were most apparent midway through the 90-minute set during a four-song run. "Behind the Veil" was a foray into island riddim, complete with some goofy guitar trickery that charged the crowd. "Two Rivers" was laid-back melancholia, and "Star Cycle" had a prog-meets-'80s sound fueled by keyboardist Jason Rebello, who took advantage of his times in the spotlight. Rebello then rested for much of "Big Block," allowing for a satisfying power trio rock workout. All the while, hard-working Vinnie Colaiuta provided booming, sloppy-sure drums, seemingly following orders to fill at will.
After four decades, Beck still has the ability to thrill. While unfailing technique is second nature to him, it was a pleasure to see Beck give just a bit extra on the showmanship side. The result was one of those nights that even a veteran concertgoer brags about the next day. And the next.
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