Jeff Beck / Camden 2018 / 1CD

Jeff Beck / Camden 2018 / 1CD / Wardour

Translated text:
Live at BB&T Pavilion, Camden, NJ, USA 4th August 2018

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Ultra superb live album that celebrates the 2018 type Jeff Beck that welcomed the cellist was born. It appears in permanent preservation press CD.
It is contained in such ultimate board as this work is “Camden performance on August 4, 2018”. It is the ultimate audience recording recorded at the site. In our shop, we have continued reporting from the beginning of the tour by name recordings of various places, but this work is an overwhelming super masterpiece than any of them. It is exactly one of “extreme”. Before talking about such quality, first of all, the position of the show. Let’s review the outline of the activities in 2018 once again.

· June 8 – July 9: Europe (19 performances)
· July 18 – August 26: North America (27 performances) ← ★ Coco ★

Over, all 46 performances. “North America” ​​tour was organized as “STARS ALIGN TOUR” joint tour with Paul Rogers and Ann Wilson, and the Camden performance of this work was a concert that was the 13th performances. Currently, Jeff is off after all the schedule, the timing when maniacs around the world are summarizing the recording. This work is a record of the latter part of the tour that jumped out of it, and it is an ultra recording that surpassed all of the past.
That sound is exactly right. I just introduced you to the best live album “DEFINITIVE AUSTIN 2018 (Wardour – 290)” which represents the tour the other day, but it certainly does not rise above the top of a rush. No. Even now, “DEFINITIVE AUSTIN 2018” must be a terrible name recording, if it is left on even a tour one level is lucky. However, this work is an abnormal sound that goes beyond its masterpiece. How to make this sound words …… Direct on core, there is no sense of distance at all, just like a sound board … No, no it does not convey at all. The air feeling which added more transparency than the superb “DEFINITIVE AUSTIN 2018” glows like a crystal glass, the guitar that can cut to the end, the bouncing bass base, and the “presence” which is ringing right there is amazing. This is “Strings tremble in front of our eyes” rather than saying “Jeff and Ronda Smith are in front of you.” It is attacked by the sense that Jeff’s right hand is sticking out his face so much that his nose will touch it. Besides, that is not just Jeff and Ronda. If Jeff is right in front of you, the skin of the bass drum and snare is vibrating at the ear, and you can feel the breath of Jimmy Hall vomiting on your face. Although it is physically impossible distance, it is a different dimension of high quality sound which it wraps from each direction of three dimensions.
There are also some reasons why I could have made this much sound. First of all, the recording person was awesome. This work was recorded by Mr. “boironmaiden” who is attracting attention as a modern name recordingist. As its name suggests, it is known as a metal band: IRON MAIDEN masterpiece, but his principal is rather out of metal. Billy Joel and BLACKMORE’S NIGHT also announced a lot of name recordings, Recently Camden recording was very popular also at Anne Wilson’s masterpiece “CLARKSTON & CAMDEN 2018 (Uxbridge 881)” (same day on this same day It was recorded.) This work is the latest recording that such a good hand released on the net.
Even such a public master was sufficient, but this work was further refined with fine meter mastering. Transparent more air feeling than the original sound, the balance is also adjusted. The bass was too strong and I pushed it up carefully. As a result, overall range widely spread, further improving vividness and sharpness of edges. Anyway, I’d like you to listen to “Just For Fun”. In the midfield Vinnie Carauta gets a fierce hit, and Bing and a sharp Ronda base tangle freely. While pressing closely with force, the 1 note 1 note beautifully stands out, and even if the cello of Vanessa · Freeburn · Smith wraps around it, the sharpness does not become completely fogged. This transcendental sound is quite different from the original sound. Of course, such recordings can not do such upgrades. The personality of the original sound happened to be suitable for mastering, and it became beautiful just as it was interesting, just by arranging the sound range, despite being originally superb. Perhaps it was one of the miracles that the recorders themselves could have drawn to the fullest extent possible to the possibility of recording that they would have not noticed.
The show drawn by that sound is also overwhelming. In “DEFINITIVE AUSTIN 2018” Paul Rodgers was the absence day, so it was a full set exceeding 90 minutes, but since the day Paul and Ann were complete, the time it was held was about 70 minutes. Therefore, although it does not reach “DEFINITIVE AUSTIN 2018” in volume, an explosion tension of one entrance will be unfolded instead. Indeed it is packed plenty of “thick” and feeling “high”.

In order to know the wide range of possibilities of the new ensemble with cello, four more “DEFINITIVE AUSTIN 2018” are masterpieces as well. It still does not change. However, this work is shining brightly, with the concentration ability to let out everything in a short time, the beauty of the moment / moment. Ultimate live album full of richness and height seen recently in both sound and performance. Even if this tour became an official live album, I wonder if the beauty as much as this work lives. A miraculous piece so much. Please enjoy forever with a permanent preservation press CD.



以上、全46公演。「北米」ツアーはポール・ロジャース、アン・ウィルソンとの合同ツアー“STARS ALIGN TOUR”として組まれ、本作のカムデン公演はその13公演目にあたるコンサートでした。現在、ジェフはすべての日程を終えてオフに入っており、世界中のマニアが録音を総括しているタイミング。本作は、その中から飛び出してきたツアー後期の記録であり、今までのすべてを凌駕してしまった超録音なのです。
そのサウンドは、まさに絶世。先日もツアーを代表する極上ライヴアルバム『DEFINITIVE AUSTIN 2018(Wardour-290)』をご紹介したばかりですが、まさか、まさかの頂点越え。いえ、今でも『DEFINITIVE AUSTIN 2018』は凄まじい名録音に違いなく、ツアーに1本でも残されればラッキーというレベル。しかし、本作はその大傑作をも超えてしまう異常サウンドなのです。この音をどう言葉にすれば良いのか……。オンでダイレクトな芯は距離感がまったくなく、まるでサウンドボード……いやいや、これではまったく伝わらない。極上だった『DEFINITIVE AUSTIN 2018』よりさらに透明度を増した空気感はクリスタル・グラスのような輝きを放ち、切れに切れるギターも、ビンビン跳ねるベースも、すぐそこで鳴っている“存在感”が凄い。これは「目の前にジェフやロンダ・スミスがいる」と言うより「目の前で弦が震えてる」。ジェフの右手に鼻先が触ってしまいそうなほど顔を突き出しているような感覚に襲われる。しかも、それがジェフやロンダだけじゃない。目の前がジェフなら耳元でバスドラやスネアの皮が振動しており、顔にはジミー・ホールの吐く息が感じられそう。物理的にあり得ない距離でありながら、それが3次元の各方向から包み込んでくる異次元のハイクオリティ・サウンドなのです。
これだけのサウンドを成し得た理由も幾つかある。まず当然のことながら、録音家がスゴ腕だった。本作を記録したのは、現代の名録音家として注目を集めている人物「boironmaiden」氏。その名の通り、メタルバンド:IRON MAIDENの名作で知られてますが、彼の本領はむしろメタル外。ビリー・ジョエルやBLACKMORE’S NIGHTでも名録音を多数発表しており、最近ではアン・ウィルソンの大傑作『CLARKSTON & CAMDEN 2018(Uxbridge 881)』でもカムデン録音が大好評でした(本作と同じ日に同時録音したものです)。本作は、そんな名手がネット公開した最新録音なのです。
そんな公開マスターでも十分でしたが、本作はさらに細心マスタリングで磨きをかけたもの。原音よりもさらに空気感を透き通らせ、バランスも調整。低音が強すぎて突き上げるような箇所も丁寧に整えていきました。その結果、全体のレンジがグッと広がりつつ、鮮やかさやエッジの鋭さは一層向上。とにかく「Just For Fun」を聴いていただきたい。中盤でヴィニー・カリウタが凄まじい連打を轟かせ、ビンビンと鋭いロンダのベースが自在に絡みつく。ド迫力で迫りながらも、その1ノート1ノートが綺麗に際立ち、ヴァネッサ・フリーバーン・スミスのチェロが包み込んでも鋭さがまったく曇らない。この超絶サウンドは、原音とはまるで違うもの。もちろん、どんな録音でもこうしたアップグレードが可能なわけではありません。原音の個性がたまたまマスタリングに適しており、元々極上にも関わらず、音域を整理していくだけで面白いように美しくなっていった。恐らくは録音家自身も気付いていなかったであろう録音の可能性まで最大限に引き出せてしまった奇跡の1枚なのです。
そのサウンドで描かれるショウもまた、圧倒的。『DEFINITIVE AUSTIN 2018』ではポール・ロジャースが不在の日だったので90分超えのフルセットでしたが、この日はポールもアンも揃っていたので持ち時間は70分ほど。そのため、ボリュームでは『DEFINITIVE AUSTIN 2018』に及ばないのですが、その代わりに1曲入魂の爆テンションが繰り広げられる。実に“濃く”て、“高み”を感じさせる演奏がたっぷりと詰まっているのです。

チェロを加えた新アンサンブルの幅広い可能性を知るためには、やはり4曲多い『DEFINITIVE AUSTIN 2018』こそが代表作。それは今も変わりません。しかし、短い持ち時間にすべてを出し切らんとする集中力、瞬間・刹那の美は本作こそが眩しく輝いている。サウンド面でも演奏面でも、近年希に見る濃さや高みが詰まった究極的なライヴアルバム。もし、今回のツアーが公式ライヴアルバムになったとしても、本作ほどの美しさが宿っているかどうか……。それほどまでに奇跡的な1枚。永久保存プレスCDでいつまでもお楽しみください。


1. Pull It 2. Stratus 3. Nadia 4. You Know You Know 5. Morning Dew 6. I Have to Laugh
7. Lonnie on the Move 8. Mna na h-Eireann 9. Just for Fun 10. Little Wing
11. Big Block 12. Cause We’ve Ended as Lovers 13. Brush With the Blues
14. Superstition 15. A Day in the Life 16. Band introduction 17. Corpus Christi Carol
18. Going Down

Jeff Beck – Guitar Rhonda Smith – Bass Vinnie Colaiuta – Drums
Jimmy Hall – Vocal Vanessa Freebairn-Smith – Cello



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