Jeff Beck With Stanley Clarke / Budokan 1978 Final Night / 2CD

Jeff Beck With Stanley Clarke / Budokan 1978 Final Night / 2CD / Wardour
Live at Budokan, Tokyo, Japan 2nd December 1978

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Jeff Beck of 1978 who showed genius Stanley Clarke as a bandmate and showed worth as a solo guitarist. The new excavation album “BUDOKAN 1978 2ND NIGHT (Wardour-341)” introduced the other day is in the midst of spreading shocks, but this work is a further intense earthquake. Excavation is the world’s first published master who can only be called a masterpiece.
The shocking work contained the “December 2, 1978: Nippon Budokan” performance. The super-superior audience recording. Since the new excavation of “Nippon Budokan in 1978” has continued from the other day, let’s first organize our shop collection according to the date of that time.

・ November 20: Ibaraki Prefectural Cultural Center
・ November 22: Ishikawa Welfare Pension Hall
・ November 23: Kurashiki City Hall
・ November 24: Osaka Pref.
・ November 26 “DEFINITIVE NAGOYA 1978”
・ November 28 “CAT MOVES (Fukuoka)”
・ November 29 “OSAKA 1978 2ND NIGHT”
November 30 “BUDOKAN 1978 DAY 1”
・ December 1 “BUDOKAN 1978 2ND NIGHT”
・ December 2: Nippon Budokan [This work] ※ Only representative works on each day.

Above, all 10 performances. Nippon Budokan was a tour highlight with three consecutive performances, but the new excavation album “BUDOKAN 1978 DAY 1 (Uxbridge 1028)” and “BUDOKAN 1978 2ND NIGHT” on the other day was the first and second days. On the other hand, this work is a live album on the last day. This day is known as the best performance of the tour, but it is also a very popular performance in sound source history. Many masterpieces were born from that time, and “OUT OF DARKNESS” has become a large standard in our shop. Even if it sees the whole world, the top war is extremely intense only in the live that symbolizes Jeff Beck in 1978, but this work is the first public exhibition after 41 years though it is different from any recordings It is a super-decision board that will take away
The sound of such a work is just amazing. “OUT OF DARKNESS” was also a great record recording of exceptional clear, but this work is another dimension. While boasting the same level of clearness, the response of the bass / midrange is totally different. While many recordings have penetrated only the treble, this work is a vivid vibe that shakes the floor of the Budokan and the reality of the midrange also feels a lot of touch. Of course, instead of being buried in strong mid-bass with high-pitched sounds, dance is performed more vividly because the foundation is clear. There was also a tape change cut after “Diamond Dust”, but it was not covered by the playing sound, and that part was complemented by the “OUT OF DARKNESS” master, and the day was reproduced to the fullest.
There is also a reason that it became a sound like this. The film was recorded in the 70’s and 80’s, and is a legendary figure who has worked on Stone’s, Mick Jagger, Eric Clapton, David Bowie, PINK FLOYD, etc. If you say “Definiteive OSAKA 1980 1ST NIGHT” and “CYCLONE” which were introduced the other day on Jeff, you might not be able to imagine the height of this work. This work is a new excavation of a miracle that has not been known until now (why) while such a legendary masterpiece collection.
Moreover, this sound is extremely powerful only in 1978. The point is Stanley. As in the past, even though the middle range is weak and the balance sounds clear, only the attack sound penetrates with the bing bin only in the base. However, this work firmly captures the “swelling” that follows the attack sound, and it produces a groove that is unbelievable. If you can see it, so far the famous recording is “line”. The lines spun by each instrument have become intertwined, but in this work, both the guitar and the base have a sense of volume. An ensemble like a Nordic aurora like a wavy curtain that folds intricately. Also, it is a feast sound of an aurora like a velvet and a brilliant aurora.
The best of the sound is comparable to the masterpiece “DEFINITIVE NAGOYA 1978”, but the factor that raises this work into a single “masterpiece” is the show itself. This has been said many times again, but in 1978 the members are fluid until just before coming to Japan. Originally it was Mike Gerson who was in addition to Jeff, Stanley, and Simon Phillips, but Jeff who was not satisfied with the performance of Mike appointed Tony Heimas in November. Just after 3 days of intensive rehearsals, I just came to Japan. That’s why the four-man ensemble is fostered in the production. The more I went to the second half of the Japan Tour, the more I worked. And it is “December 1st” of “BUDOKAN 1978 2ND NIGHT” which it reached the area of ​​completion that “BUDOKAN 1978 2ND NIGHT” was introduced the other day, and this work which is the next day is a great performance where the completed ensemble causes the chemistry . Here, let’s excerpt the review of the day from the full performance report of the late special magazine.
“On the fifth day of five consecutive performances, I can not feel tired at all, and I can listen to high-tension play until the end. The set list was the same as November 30 (postscript: December 1 the song order of “Cat Moves” and “Goodbye Pork Pie Hat” was reversed), but the day was good, but the content of the performance on this day is The sound played by the four players at the Budokan created the amazing magic of the Budokan. He also listens to rare phrases, and before playing “Rock ‘n’ Roll Jelly”, he plays the “Beck’s Bolero” code and plays “Greensleeves” at the beginning of the encore. The accompaniment of “Rock ‘n’ Roll Jelly” and the beautiful performance of “Cause We’ve Ended As Lovers” are just amazing, and I’m moved by a play that sounds like perfection.
…… There is a great acclaim that just did words, but what flows out of this work is the evidence of the sound that supports this word. It seems like the joy of Jeff who realized the ensemble that I had imagined overflows, and it’s a masterpiece that I feel like playing it comfortably. Feeling good is good MC also increases, when Jeff introduces Stanley after “School Days”, it responds to “Domo”, and Jeff says “Japanese people wonderfull” in the last and Stanley “Domoarigato Aimashita” Thank you and thank you. You can experience a miracle night where everything you do is going to work with the best sound.

Jeff Beck who suffered from poor health on his first visit to Japan in 1975 following BBA in 1973. That is why the third Japan Tour is dazzling as a solo guitarist, but on the final day it was a major performance during a major performance that will be its final destination. The world’s first published master of shock that updates the highest peak of such “miracle night”. This is no longer a Japanese treasure, but a cultural heritage of the whole world that humanity should share. Please enjoy with the press 2CD which leaves the brightness forever.

天才スタンリー・クラークを帯同させ、ソロ・ギタリストとしての真価を見せつけた1978年のジェフ・ベック。先日ご紹介した新発掘アルバム『BUDOKAN 1978 2ND NIGHT(Wardour-341)』が衝撃を振りまいている真っ最中ですが、本作はさらなる激震。まさに最高傑作と呼ぶしかない全世界初公開マスターが発掘です。

・11月28日『CAT MOVES(福岡)』
・11月29日『OSAKA 1978 2ND NIGHT』
・11月30日『BUDOKAN 1978 DAY 1』
・12月1日『BUDOKAN 1978 2ND NIGHT』
・12月2日:日本武道館 【本作】

以上、全10公演。日本武道館はツアー・ハイライトとなる3連続公演だったわけですが、先日の新発掘アルバム『BUDOKAN 1978 DAY 1(Uxbridge 1028)』『BUDOKAN 1978 2ND NIGHT』は初日と2日目。それに対し、本作は最終日のライヴアルバムなのです。この日はツアー最高の大名演として知られていますが、音源史においても超注目公演。当時から数々の名作が生まれており、当店でも『OUT OF DARKNESS』が大定番となってきました。全世界的に見ても1978年ジェフ・ベックを象徴するライヴだけに、その頂点戦争は熾烈を極めてきたわけですが、本作はそのどの録音とも異なっていながら41年後の初公開にして王座を奪ってしまう超・決定盤なのです。
そんな本作のサウンドは、まさに驚異的。『OUT OF DARKNESS』も破格のクリアさが素晴らしい名録音ではありましたが、本作は別次元。同レベルのクリアさを誇りつつ、低音/中音域の手応えがまるで違う。多くの録音が高音だけ突き抜けてきたのに対し、本作は武道館の床を揺るがす重低音もヴァイヴのレベルで鮮明ですし、中音域も手触り感たっぷりのリアリティ。もちろん、高音も力強い中低音に埋もれるどころか、土台がクッキリしているからこそ一層鮮やかに舞い踊っている。「Diamond Dust」の後でテープチェンジのカットもありましたが、演奏音には被っておらず、そのパートも『OUT OF DARKNESS』マスターで補完し、当日を最大限に再現致しました。
これだけのサウンドになったのも理由がある。本作を記録したのは、70年代・80年代にかけ、ストーンズやミック・ジャガー、エリック・クラプトン、デヴィッド・ボウイ、PINK FLOYD等々、名だたる超傑作を一手に手掛けてきた伝説の名手。ジェフで言うなら先日もご紹介した『DEFINITIVE OSAKA 1980 1ST NIGHT』や『CYCLONE』を思い起こして頂ければ、本作の高みもイメージして頂けるのではないでしょうか。本作は、そんな伝説の名手コレクションながら(なぜか)これまで知られてこなかった奇跡の新発掘なのです。
サウンドの極上ぶりは名作『DEFINITIVE NAGOYA 1978』にも匹敵するわけですが、本作を単独の“最高傑作”へと引き上げている要因は、描かれるショウそのものにある。これまた何度も語られてきた事ですが、1978年は来日の直前までメンバーが流動的。当初はジェフやスタンリー、サイモン・フィリップスに加えてマイク・ガーソンが予定されていたものの、マイクの演奏に満足できなかったジェフが11月になってからトニー・ハイマスを起用。直前に3日間の集中リハーサルを行っただけで来日となりました。それだけに、4人のアンサンブルは本番の中で醸成。ジャパンツアーも後半になればなるほど練度を増していったのです。そして、それが完成の域に達したのが先日ご紹介した『BUDOKAN 1978 2ND NIGHT』の“12月1日”であり、その翌日である本作は完成されたアンサンブルがケミストリーを起こす名演なのです。ここで、今は亡き専門誌の全公演レポートから、この日のレビューを抜粋してみましょう。
『5公演連続の5日目だが疲れはまったく感じられず、最後までテンションの高いプレイが聴ける。セットリストは11月30日と同じ(追記:12月1日は「Cat Moves」と「Goodbye Pork Pie Hat」の曲順が逆でした)でその日も良かったのだが、この日の演奏内容はバツグンで、4人の奏でるサウンドが武道館で驚愕のマジックを生み出した。珍しいフレーズも聴け、「Rock ‘n’ Roll Jelly」の演奏前には「Beck’s Bolero」のコードをちらりと弾き、アンコールの最初に「Greensleeves」を少しだけ弾いている。《中略》「Rock ‘n’ Roll Jelly」の熱演と「’Cause We’ve Ended As Lovers」の美しい演奏がとにかく素晴らしく、極みに達したような完璧ともいえるプレイに感動してしまう』
……まさに言葉を尽くした大絶賛が寄せられているわけですが、本作から流れ出るのは、この言葉を裏付ける音の証拠。思い描いていたアンサンブルを実現したジェフの喜びが溢れ出るようで、気持ちよく弾き倒す様は圧巻。機嫌も良いのかMCも増えており、「School Days」の後でジェフがスタンリーを紹介すると「ドーモ」と応え、ラストにはジェフが「Japanese people wonderfull」と述べるとスタンリーも「ドモアリガトアイマシタ」と謝辞を述べる。まさにやる事すべてが上手くいく奇跡の夜を極上サウンドで体験できるのです。



Disc 1 (48:27)
1. Intro. 2. Darkness/Earth In Search Of A Sun 3. Star Cycle 4. Freewa Jam
5. Cat Moves 6. Goodbye Pork Pie Hat 7. Stanley Clarke Solo/School Days
8. Journey To Love 9. Lopsy Lu

Disc 2 (43:37)
1. Diamond Dust 2. Scatterbrain 3. Drum Solo/Scatterbrain(reprise)
4. Rock ‘n’ Roll Jelly 5. ‘Cause We’ve Ended As Lovers 6. Blue Wind
7. Superstition

Jeff Beck – Guitar Stanley Clarke – Bass Tony Hymas – Keyboards Simon Phillips – Drums


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