Original subtitles

that you don't understand

Son, do your job!

And then when the demo tape came to Motown and Berry Gordy heard it,

he said: “This is the best song that you ever wrote. ”

So his single came out Stevie and became number one.

And it's I think the biggest seller with his singles of all time

And it went OK, because it was a much better version than

the one we did ... I think. We made a heavy metal version.

But I don't think he cares Stevie too much of that.

When I heard Stevie Wonder's version of that song, the final one

of that song, you know, no one touched her anymore

that it doesn't sound like a song butchered by a bar troupe.

There was no such thing as Jeff Beck. It couldn't be.

Jeff released his version with his new band (ex-Vanilla Fudge)

and the song also withstood the charts.

I mean, the boys in the band sounded like they were very excited to sing together

I had seen Fudge three or four times

and I was very impressed. They sounded great!

Superstion cu Beck, Bogert and Appice

Maybe not knowing that Stevie had composed the ultimate piece for a trio formula

because the double bass drum that he used it Carmine was perfect.

Timmy was too busy with the bass chords. Who else could be added?

They both sang vocals, so I did two vocalists, bassist and drummer.

Ready! The list is complete.

I mean, there is a certain amount of "fuck" transmitted

in everything Jeff does.

And I think there's a dose very big in that song.

But unfortunately I couldn't we don't bring any songs to that level,

at that quality. So it didn't exist never a proper album.

I toured and drove people crazy come to the park to see us. Was awesome.

I sang at Crystal Palace and they were girls swimming across that pond

to get in front of the stage. Was awesome!

We said to ourselves, "We're on the right track."

And I got a ridiculously good answer.

But then we seemed to get mentally stuck

We couldn't compose very good songs.

They also released a second album but which has died out quite quickly.

The managers of the ten had to gather to declare the band's divorce

The record company didn't have one mostly in that breakup.

We were mere observers, spectators.

It exploded, you know? from Unfortunately, that's what happened!

He was not at all the man he wanted to be be a rock star, this whole thing.

He could only be faithful his art and yet ...

He could go home leaving everything behind,

to work on machines to live in the country,

and so I think he found a balance very good between the two calls.

We're working on a car wreck left after an accident in ‘69,

and I had a transistor radio who was singing next to me.

I was lying on the ground working on a rear axle

or anything else and water rain was dripping down my face,

and I said, "I'm in a ditch. I'm back in a ditch! "

And the water almost took my radio.

And it was McLaughlin singing something about on Jack Johnson, that amazing album.

Miles. I mean, my God Please, it's a wonderful thing.

And then I heard McLaughlin making his entrance.

And that was the moment I had I stopped working, I went into the house,

I got a cup of tea ... and I kept listening.

And that was it. I just said to myself: "It simply came to our notice then.

That's what I want to do. "

Focus only on the guitar

and deny the need the existence of a vocalist.

There was no point in beating people up

trying to find another Rod Stewart.

What a wonderful gathering of musicians -

the brilliant Max Middleton on keyboards on keyboards ...

Richard Bailey and Phil Chenn on drums and bass.

.. and the disc was produced by George Martin at Air Studios!

GEORGE MARTIN: I came up with the idea Album title Blow By Blow,

because the word "Blow" it means many things.

But I used it in the sense of jazz.

When you do an extempore bit (a bunch snapshots) give a shot.

You should have seen the joy on George's face

when he discovered how we will have a lot of fun ...

Jeff and I met and he invited me to the studio,

and he told me that George had really left him

to sing and do whatever he wanted, and he recorded all things

and that he will then make the final version.

That George was someone who he really understood

the perfection of Jeff's interpretation

and how different and how it was special to anyone else.

George Martin really understood that Jeff was a serious musician.

He wasn't a producer with a singular vision that

he wanted to impose himself.

And I don't think anyone could be very lucky

to impose his vision on Jeff.

GEORGE MARTIN: Well, Jeff could be temperamental

but it was never a big deal.

I mean, if he was frustrated

because he couldn't get what he wanted he wanted to be very upset,

he once even threw the guitar in the studio at one point.

But, you know, people are temperamental.

And it's okay to release "steam."

As long as he doesn't release steam on me, everything is fine.

I had no problems. We understood very well.

He also likes to explore the guitar when he hears

something that catches his ear or give him a new idea,

he sought to deepen his pursuit of the idea.

John McLaughlin was giving it to me with his foot in the ass at the time.

And in this the Mahavishnu Orchestra played an important role.

Jeff always said that Mahavishnu Orchestra was -

and still considers it a Holy Grail.

"They inspired me to start pushing things to the next level. ”

The song that has a part of that idea related to Mahavishnu is Scatterbrain

It starts as a schizophrenic blast which I once had

when I was nervous in the cabin studio test.

Two seconds before continuing printing I discovered a thing

and Max being the bastard who it can sometimes be, he said,

"You know something about these agreements annoying songs you play now? ”

I also wrote a few agreements to go with them. "

Then he said, “If you lift everything on the guitar with a semitone,

I can make a track out of it. "

And before we get caught, I had this piece.

Yes, it's ... That's right ... It's a hard stuff, that song.

He was moving further and further away of the rock he

he had done it and he wanted to to open up to something more melodic

and with a softer, more jazzy angle.

George really liked the play and began making arrangements for keyboards.

It was a successful proof of spontaneous creativity.

When I suggested we use one orchestra to print this piece,

I think he was taken by surprise.

For me, it was a pretty risky thing,

because Jeff had never done that before something so far and I wondered if

the public will be able to accept that Jeff also works with an orchestra.

George was open to anything and he was the one more encouraging and kind guy.

And, honey, it made a great sound.

‘Couse We’ve Ended Ace Lovers is for me the most important piece.

I mean, Jeff is in the most beautiful lyrical moment.

Of course it's a composition by Stevie Wonder and that must be emphasized.

When I heard that album, I just said, "Oh, wow."

Her voice was evil flowing lens.

And I started singing ‘Cause We Ended A Lovers,

the song Syreeta sings.

Max Middleton said: "How beautiful she is. What piece is this?"

And he said, "Why don't we do the play this as an instrumental one? "

GEORGE MARTIN: Jeff is an amazing person,

because it can take out those more incredible sounds

from an electric guitar.

Even after throwing her in the studio,

he picked it up, tickled it a little and all it could make some great sounds.

He uses the guitar as a voice. He plays the guitar.

And I don't know any other guitarist like him.

Blow By Blow was successful immediately after launch.

I mean, it really took off like a rocket. He climbed all the charts.

Looks like a lot of fans of yours Jeff Beck seemed to be waiting

an album in which to hear it playing the guitar to the max.

Max and George were like two peas in a pod

due to their degree of musicality on keyboards.

Max came out with those twisted chords.

They looked like Goodbye Pork Pie Hate, you know, Charlie Mingus.

Goodbye Pork Pie Hăt, composed by Charles Mingus, it was an ode

brought to the great saxophonist Lester Young.

And it was noted that being a piece with something very special

and different, something total unexpected from Jeff.

And after I finished, it was a deadly silence. I said "Oh."

And George ... the button sounded moving. And he said, "It was extra."

VERSION ON THE ALBUM

And today I say to people: "Boy, if you want to learn guitar,

learn all ranges and arpeggios and all that,

but first you have to to learn two solos,

and both are relatively light learned because they are slow -

Goodbye Pork Pie Hat On Wire and ‘Cause We Ended So Lovers.’

Because there it is ... there it is what you feel!

I received a letter: “Dear Jeff Beck,

your version with Pork Pie Hat he turned his back on me. "

It was signed Charles Mingus

And then I felt like we had the world at our feet, you know?

I felt now that we could do whatever we wanted.

Jeff is like a rock’n’roll musician who understands jazz

So, this is like a very rare animal.

We went to see Mahavishnu Orchestra in Zurich.

We also play there and we got there to meet at a hotel party.

We had a great time, you know?

That's how I got to know them Mahavishnu Orchestra - McLaughlin,

Jan Hammer, Billy Cobham, Jerry Goodman and it was simply amazing.

And that's how we really got to have it excellent contact between us and at

kind and a dialogue because really we had a lot in common.

Jan already knew me. He said: "Of course I know you! Din Yardbyrds.

I know everything you did.

So that's how we got to the big session establishing contact between us.

That was before Wired. I guess that the album was almost over.

Jeff had done some hard mixing. The album was almost ready, but not finished

George Martin had to leave. was hired to release an album in the DOOR

George left before he did the latest album finishes.

There were still some overdubs and certainly some mixes.

So I had to take it goodbye to George.

Jan was interested in that that I will fly to the USA

to watch the magician how will work on that new album.

So I did some fast mixing and practical

all those mixes came to be master versions for the album!

So more than half from the album was mixed here.

And I've done it practically from scratch a song called Blue Wind.

He told me to sing these two chords.

These two notes

I told him: "Oh, Jan. That's a children's thing."

And he said, "Trust me."

And I didn't like that at all.

It was a very simple agreement followed then a combination of things,

and when I added the battery and the part with my synthesizers ...

And then he took those Auratones and he put them in the packaging of the piece

and let him be heard and the speakers started shaking!

I said, “OK. Now I understand!"

He offered me a platform great for my solo.

And it was all about, you know, creating a shell in the piece

to show me where and when to go in with my solos.

And it turned out to be a great play

who is still alive now after decades!

It was incredible to play with Jan Hammer and

with Jeff Beck at the Hollywood Bowl.

Jeff had told me about Jan before.

Jeff loved Jan and the feeling was reciprocal. They had an excellent relationship.

I was sitting there watching how they both interacted

and you could see the years of friendship, mutual respect

and the love they had one for the other.

Star Cycle was interesting, because again

what I did was to I'm recording the whole song here ...

.. in the old studio, again with the sequencer and I beating the drums.

Then I took the tape to Ramport, Who's studio in London,

and I added all the solo parts over the previous print.

That song has a very special song.

And again, the whole album is about to the compromise between Jan and Jeff.

The way their minds working together is incredible.

Everything really jumps from one to the other,

and it's all just ... it's like fireworks.

He's inspired, you know, by whatever the dynamics

present on stage. That's what he's looking for.

He was looking for a source of inspiration, you know, a reason

to hit a rope and to Shoot it, make the next sound.

That's why who love to sing with him,

because it will always be so fresh and will pull something out of your sleeve.

How can he do it when you know that the guitar is so limited,

and people sometimes even prove it how limited the guitar is

singing practically only a few chords and so to build a career.

Jeff opens horses to so many,

areas that are very difficult to keep up with him.

I returned to Epic in 1980 after the album There And Back, but I failed

to persuade Jeff to take it out at least one Epic album.

The years had passed and I didn't want to I adapt to new trends,

music at the touch of a button for years '80s and stuff like that.

Of course I visited him Jeff at his house.

She was a very kind host, she told me showed the cars in his garage,

on which he had spent a significant part

from his time working to them very happy.

I felt there was no room left and for me in the music of that time,

so I buried myself in work in my workshop.

And I had reached a point in which those from Epic

they seemed to have forgotten that I had a contract with them!

And I ended up going to participate at various singing sessions.

Any artist was delighted if Jeff contributes to their work,

so the fact that over the years a participated in numerous albums for

a wide range of names, from Stevie Wonder at Stanley Clarke and up

Diana Ross and Mick Jagger and Tina Turner and enumeration can continue ...

I enjoyed being invited to play with them. I liked every minute.

He was the kind who guided him career as he wished,

and that he took time off or he felt like a record label

blowing them in the back of the head and asking a new album every year.

Epic Records thought it would be a wonderful idea to put an artist

to give me a clue what I should making a painter do this

surreal drawing with a guitar climbed the ramp instead of a car.

I liked the idea. I liked that cover.

It was me. I mean, that was me.

It couldn't have happened better ... it was right in the center.

Understand? That was me!

Undoubtedly the Guitar Shop LP, a it was a real comeback.

And that was their business, you know?

The album was released together with Tony Hymas and Terry Bozzio

The results were indeed revolutionary, in a way,

for a band of three to he pulls out something with so much power.

You know, it was a big trio power, with keys instead of bass.

His approach was super, super rhythmic, and for that to work

he had to have some people behind him which can draw so much power.

I think Terry Bozzio had a great time contribution to achieve this.

Jeff had worked with some others Great drummers, you know?

So I was in front very high requirements.

When you hear this song, you understand why it's called Big Block,

which obviously refers to a large dimensions of a car.

His interpretation is amazing. Those Big Block deals are strong!

Those sexy chords in the middle piece, all of that was my creation.

Big Block, it's a great song. It's already a classic piece.

A powerful song.

That's a pure example, I think, of a lot of power

and energy on Jeff's show.

She is full of aggression and wit.

It has an ugly, very ugly resonance.

Which underscores the harshness of the agreements are the low tones present

all the time and the main agreement of the bass is low enough in volume

to provide space for the guitar to do absolutely anything.

And that's how he develops his part!

The sounds it makes that guitar still shocks me.

It's all so clear,

and it sounds like he knows safety wherever it goes

and exactly what he wants to do and that he will execute it perfectly.

He always has a song,

but he also has a strong attack as a kind of aggressive fire.

And it's brilliant. 867

Jeff doesn't use up, and I have learned a lot from this thing,

because that's how you are connected to what you sing

and something emotional appears that makes him

when he sings to rise above and beyond if he used a feather.

In its beginnings it sings with up

but then he learned to sing without.

And so he was able to concentrate more on his Stratocaster,

and he had got the guitar

so well adjusted for each shade

and tone and tension on the ropes so that he

he developed a completely unique style.

And that's pretty magical.

Where Were You and Practice the impossible to sing piece.

It's simply an impossible piece!

That song where he sings the song with those harmonics, it has something like that

what only a sensitive ear can know exactly when things are in tune.

The way he use the Stratocaster

to give the feeling of slide and extraordinary clearing.

He sings whole songs on harmonies

which are passed through two or three tones

and believe me I tried too. Is difficult... but he makes it sound easy.

He was invited to sing at a memorial service

for Richard Wright when he died. Rick liked this song.

Rick often said Jeff was his favorite guitarist,

to my annoyance. And he a came and sang it live,

and it was just like a recording, it was so perfect.

Just know that this song, which I composed it, it reached people,

it was very satisfying.

Elton told me that too he really liked it,

and Freddie Mercury used to and he often listened to her.

So I thought, "Oh, that's good then!"

It's not amazing, is it? that an idea would end up on a disk

and affect people's lives in any way?

Jeff always tried, you know, to provoke stereotypical manner

to play guitar or pure and simple even the stereotype of music,

and find new ways to, you know,

to express one's opinion about what it's happening in music now, not counting

if it is about collaborating with different people or new sounds

for he always has a mind something he wants to do and change

He listens to EVERYTHING!

I mean, listen to anything la Ornette Coleman la Spice Girls şi

any intermediate element and is capable to filter into something usable.

Jennifer and I got along well and I did many crazy things

I have a strong sound system in car and that's how I heard the song Nadia.

It had the most impressive sound which I had never heard

and I put it on again and again new on the way to the studio.

There I said, “Listen to this. I will I'm trying to imitate this singer. "

It was the hardest thing on which I ever did.

Indian singers keep twisting their voices,

And it's almost often incredible what I can do with my voice,

jumping from note to note and how high I can sing.

Indian voices are very difficult to imitate.

They have a lot of shades subtle and small twists.

In fact, I did some loops for her from every bit of the song

and I arranged them maybe ten or so fifteen times to be able to

focus only on that side without being upset he'd done it before

to break it down so scientifically.

But, of course, he will do it in his own style.

It's a perfect example of the expansion of the instrument beyond imagination

anyone, you know, to shake hands

and his brain to be able to lead the style to play the guitar so far

When I talk to other guitarists about him, there is no doubt.

I mean, everyone else is everyone group and then there's Jeff Beck.

I don't even know what half does from the time he played guitar.

It combines vibrato lever cu pulling the strings and with the volume.

So many things are happening between what he does with his left hand and

what he does with his right, total hand the independence that everyone has.

Everything to do what that voice does.

He sang this song five nights next to Ronnie Scott, I think

and the fact that he managed to do that was pretty amazing,

because it was just a small jazz club.

Art Blakey sang there too I also saw Elvin Jones singing.

Those people were the ones who they belonged to that club.

And here I am, Jeff Beck, there. No no no.

How wrong did I choose? And it was amazing.

I can't believe it.

You know, I mean the people here in the room.

But, I would like to wish them well came to someone on this stage

of someone who knows how to use a Stratocaster.

It was an honor, you know, I mean, to rise to his call there.

And the fact that he asked me to sing and I was great

of mover that he wanted me to climb on stage and play with him, you know?

Mr. Eric Clapton is here with us tonight.

I might as well go home now!

They were trying to figure out what to sing and Clapton said:

"Well, why don't we sing You Need Love?"

I basically had them there everyone in Led Zeppelin,

that is, the surviving members and a it was funny to sing You Need Love,

because from this piece they came inspired her with Whole Lotta Love.

That was the song that got him influenced to compose their piece.

Jeff and I know each other in early adolescence.

And let me tell you, that that was a long time ago.

He must have been 13, 14, when we first met,

and we remained friends throughout ...

It was a surprise that the the Rock and Roll Hall Of Fame,

to call Jimmy to come there and call me to offer me the prize.

I was very flattered. And what what he said made me cry.

You listened to Jeff throughout career and you could say:

"Wow, you've become very, very good, Jeff."

And then you heard it a few years later,

and he continues to become better and better,

and he still has a lot to say to the end.

And so he leaves us as if simple mortals, believe me,

just wondering and having so much much respect for him.

And I tell you, I'm really honored to be here to participate

at Jeff's reception in Rock and Roll Hall Of Fame, for that

he did so much for rock and roll and always will.

The plan established for the sound test a we went to sing Beck's Bolero.

And I said to myself, “Oh, yes, OK, I will bring the original guitar with which

he sang, that is, a Fender with 12 strings, electric Fender with 12 strings.

So I took her there and rehearsed.

Somehow, I think Tal and I. I called Jeff too.

And I said, “You know, it's a shame

that we don't play a Zeppelin song.

I mean, if we're still going to sing with Jimmy Page.

And I even got a call before we left and he said:

"I had a discussion with the band,

and they all said it might be a good idea

if it weren't for Bolero instead of singing better to do Immigrant Song. ”

And I said, "Oh, yes? Well, then it will be really interesting,

because I didn't do any rehearsals. "

And we have Jimmy Page here!

The technical team behind the scene froze with fear.

The sounds, the light ... Nobody he didn't know what was going on.

But the audience simply went wild!

I mean, he improvised one solo per song on the spot,

and imitated the guitar part vocal just to show, you know,

just to show everyone how good he was.

I still get goosebumps when I'm thinking about that moment now.

The band was having a lot of fun doing this piece hard,

and they all realized how much he was an amazing guitarist.

These two people who had gone out into the world musical in the same year with the same

influences and you could see where they had come.

Jimmy Page and Jeff Beck.

And then there were Clapton and Hendrix.

I mean, they all took it the same raw materials

and he did that - just believing following distinct and different paths.

Every time I think at that, it makes me dizzy,

and Jeff is truly a voice totally different, that no one else.

I like his vast terrain, understand? He could move on from something

so shocking and so aggressive

to something so tender and so sweet and everything in between,

and it's really a mirror perfect of all emotions

and enjoy being a being human being and being alive.

It simply covers the whole range of human emotions.

You can recognize Gilmour and Hendrix just like you

You can recognize Jeff in one musical phrase, even a note.

There would be no more figures emblematic of guitarists

if they did not have their clear stamp.

And that's, I think, what everyone does aspiring to become a great guitarist,

including me, wants to realize one day.

So I think everyone is unique,

but Jeff is a little more than that.

He made his set and then he had to let me go in after Nessuno Dorma!

It was something like, “You're probably kidding, man! This is the truth.

"This is a closing song of the show. I can't go in after that. "

There aren't too many musicians who can do that.

This song is vocal for a reason.

It's really just about two hands and a piece of wood

and the things he can do,

and which he does with great emotion and a lot of soul and how expressive.

All those years ago he had a band that presents

Rod Stewart as his vocalist.

It always seemed to me somewhat a sign of self-defeat

try to replace it Rod with some other vocalist.

Jeff has a very good ability interesting in the choice of singers

choosing his Imelda May, Joss Stone and Beth Hart.

It's a perfect example of three absolutely amazing women

which matched his style and the energy he wanted to transmit

at the right time and type of fire which he wanted the play to have.

I had the opportunity to participate with Jeff composing songs.

We composed some beautiful songs together.

And I thought that was it.

And then he called me and asked if I would like to be his vocal soloist.

It was incredible. I didn't get to and I sing a lot of songs, but that's it

I was able to sit on the edge stage and watch him sing

and to understand why he is the most invincible guitarist of all time.

Jeff really appreciates vocal soloists.

You know, he always listens to vocal soloists

and how words are articulated.

Beth Hart is someone with whom I've worked before,

and she is wonderful and capable to sing with a lot of feeling.

As for the singers, he knows which one it's the kind of song that catches them

best. And he guided me to that piece and I really liked it.

50 years later, after the girlfriend she took him on stage in Hollywood

where he said to himself, “Lord, I am sorry to get to sing here "

and after 50 years he came to sing there and the concert to be sold-out.

Superb. Sistrugator. And everything is just wonderful.

The Revolution Will Be Televised

One of my favorite records what he did is Loud Hailer,

I mean, it's incredibly modern,

and having such a vocal soloist to find, chose well.

of your settee...

It's a huge pressure to sing opening to Jeff.

It's like coming back 50 years ago

Rosie was seen trotting prin Hollywood Bowl,

in front of all the rich that one from the first lines ...

... who didn't understand what was going on.

He always decides to do something about it which no one expects to do

that is - to work with us, o unknown band from Camden.

Jeff has always supported young people artists and especially women.

He has a whole history of being by his side of him really great musicians

vocal soloists, guitarists, bassists chosen not only on the basis of criteria

to be a woman, but also to be good musicians

and get along well with him and his wife.

Is it really that cold outside?

I met Jeff at the party to Roger Taylor for his birthday.

It was a friendly date, because it was as Roger said:

"Here he is, come meet Jeff."

And when I came back I gave up figure out who I'm talking to and believing

that the first thing I said was was: "Oh, fuck, you're Jeff Beck"

I installed the engine in the absence yours, so I'm almost done.

"Who do you like?" And she said, "Oh, by Albert Collins." Ding!

The light came on and I did said, “It’s kind of unusual,

to have a young guitarist in the band who likes Albert Collins. ”

Then he said to me, “Well, if you want to see me singing with my band,

we sing inyt a pub. So we went there. It was great.

He's always trying something new. The most recent album by Loud Hailer,

it doesn't look like an album at all which he has done before.

Collaborate with people who are like and he was an experimenter in music

And that can keep you young.

Which is important is that Jeff at his age

still trying to experience things us and do things differently,

not to sing the same things which he always sings.

He forces himself a little and gets excited

when he meets new people and try to sing something new

Looking back, he feels that in a realm of fairies.

How the hell did that happen?

Just sitting by the fireplace drinking Prosecco and composing music with a legend.

There was a lot of talk about things who interested him in the world,

but then everything came pretty easy.

Everything was done under this roof and it was a beautiful thing,

a very natural experience.

Looking like a fool again

For a taste of a big boy's life

That was the sequence of Carmen's chords, I think,

and then I came with some small fillings and others.

I didn't expect that song to be so deep

I like the feeling present in spatele piesei Scared For The Children

It's something we felt all very close.

of the innocent

I sing with as little as possible notes and that means something, I think.

If there was a plan to sing this poisa, this would be the plan.

I mean, the chords are so beautiful.

I just have to sit on the rope and touch it, that's what I have to do.

Jeff's solo on Scared For The Children,

it's soft at first and then explode in the second half,

it's like a hint a quote from Jimi Hendrix.

The best time is on a stage with very good sound and live singing.

You feel like it's really flowing.

Jeff is probably one of the most

influential guitarists in life today.

And whenever I get to play with it is an affecting experience

the style in which I play the drums but also my music. It makes me sing better.

Every time I see him, its quality is so great,

and every concert is the only place in which he continues to surpass himself

and all I can say is, "Oh. OK. "Do you understand?

"I'd better go home and I pick up that guitar again. "

He's interested in the way natural in making music,

and has enough confidence in his music to know that all

things related to business with music just doesn't matter.

Have the attitude that she always has it ready

to try something new and even if he still doesn't know what -

he really does! - And I think that's something magical.

There is a difference between a play music and make music,

and that's what makes it special, because HE makes music.

Jeff seems to embody the sound which he produces and I have seen

taking someone else's guitar just he had sung a moment before,

and without effects, without anything added and when he starts singing,

and the sound of the same instrument

it was completely different.

His unique talent, this unique musical sensitivity,

that vocabulary, inspiration and willingness to take risks,

jumping off rocks, you know, all this appears in his music.

People need to ...

.. be aware of their opinions about him. I mean, where have they always been?

There is no one left consistently so good,

interesting, looking for new things, be adventurous, bold,

since it began in the 1960s.

He just loves music. I think...

.. if you don't want to sing anymore, if not nothing inspires you from what you hear then

you might as well stay home by the fire and watch TV.

But obviously he has something else to say.

I haven't given up hope yet, Jeff, you know. VOICE, GUITAR.

Good job guitarists

is that each is his own character when he sings, if you can understand me.

And we could talk to all for hours and hours

and years and years, decades and decades,

but most importantly, the one you can't actually do

express in words, that's what you hear in fact in that music of his.

And the key to all this, a Jeff's art of interpretation

and why Jeff is so great,

is what he manages to transmits through his guitar.

And that must be listened to in order to be believed.

I always keep a guitar around in all places in the house

to remind me that it would I always have to sing to her.

And the guitar is always on a constant challenge.

And every time I pick it up, I pretend I just started learning to sing

and I seem to be starting to cope.