Billed as the Legendary Jeff Beck, the guitar maestro walked onto the stage of the 4,000-seat MGM Grand at Foxwoods Saturday night decked out like a white knight. He had on a white T-shirt, white vest, white scarf, skin-tight white pants tucked into white boots with fringe and a white, the body naturally yellowed, Fender Strat with a white pickguard.

He launched into what has become in the past few years his traditional opener, Beck’s Bolero, a Jimmy Page composition from the classic 1968  Truth album with the Jeff Beck Group, which influenced most of the heavy blues-based rock that would follow in the 1970s (see Led Zeppelin). The album cut is heavily produced. In concert, the tune benefits from a scaled down, tight, spare version with his four-piece band: Vinnie Colaiuta, drums, Tal Wilkenfeld, bass and Jason Rebello on keyboards.

The tune set the stage for a set consisting of most of Beck’s best known tunes from his fusion era, which now spans the mid-to-late 70s to present day. The Pump and You Never Know, from the ’80s album There And Back, followed. Beck is still in command of his considerable and unique skills, playing in his hybrid style, sans pick, of using his thumb and fingers and producing a trademark sound with effects he generates  mainly through only his hands, sounds he has been noted for since his days with the Yardbirds in the mid-’60s.

The first ballad was the stellar Cause We’ve Ended As Lovers, from Blow By Blow, the album that really brought Beck to prominence as a solo artist in the 1970s. The tune, though, was dominated by Wilkenfeld, a 23-year-old female wunderkind, who took a breath-taking solo and received a big response from the audience. Continue reading Bolero, Beck-Style →